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De Palma a la Mod

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De Palma Discussion
Forum

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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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« September 2015 »
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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags

Directorama

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

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the
Guillotine

FilmLand Empire

Astigmia Cinema

LOLA

Cultural Weekly

A Lonely Place

The Film Doctor

italkyoubored

Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds

EatSleepLiveFilm

No Time For
Love, Dr. Jones!

The former
De Palma a la Mod
site

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.
All topics
Ambrose Chapel
Are Snakes Necessary?
BAMcinématek
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Books
Boston Stranglers
Bruce Springsteen
Cannes
Capone Rising
Carlito's Way
Carrie
Casualties Of War
Catch And Kill
Cinema Studies
Clarksville 1861
Columbia University
Columbo - Shooting Script
Conversation, The
Cop-Out
Cruising
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dick Vorisek
Dionysus In '69
Domino
Dressed To Kill
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Fire
Frankie Goes To Hollywood
Fury, The
Genius of Love
George Litto
Get To Know Your Rabbit
Ghost & The Darkness
Greetings
Happy Valley
Havana Film Fest
Heat
Hi, Mom!
Hitchcock
Home Movies
Inspired by De Palma
Iraq, etc.
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Lithgow
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Mod
Montreal World Film Fest
Morricone
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Newton 1861
Noah Baumbach
NYFF
Obsession
Oliver Stone
Palmetto
Paranormal Activity 2
Parker
Parties & Premieres
Passion
Paul Hirsch
Paul Schrader
Pauline Kael
Peet Gelderblom
Phantom Of The Paradise
Pimento
Pino Donaggio
Predator
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Redacted
Responsive Eye
Retribution
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
Sakamoto
Scarface
Scorsese
Sean Penn
Sisters
Snake Eyes
Sound Mixer
Spielberg
Star Wars
Stepford Wives
Stephen H Burum
Sweet Vengeance
Tabloid
Tarantino
Taxi Driver
Terry
The Tale
To Bridge This Gap
Toronto Film Fest
Toyer
Travolta
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Untouchables
Venice Beach
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
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Tuesday, September 1, 2015
TWEET - VARIETY'S GUY LODGE IN VENICE

Posted by Geoff at 5:49 PM CDT
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Monday, August 31, 2015
TWEET: BRYAN FULLER - HANNIBAL MIC DROP
AND MATT ZOLLER SEITZ: 'HANNIBAL' REDEFINED HOW WE TELL STORIES ON TELEVISION



Vulture's Matt Zoller Seitz on Hannibal
"The sophisticated aesthetic developed by Fuller (and his many collaborators, whose ranks include a number of visually oriented directors and a few veteran cinematographers, such as Guillermo S. Navarro, who shot numerous Guillermo del Toro films and directed the 11th and 12th episodes of season three). The aesthetic is the reason why, despite being the most gruesome drama ever aired on network TV, Hannibal never felt unacceptably brutal to me. It is, no question about it, ultraviolent, but not in the manner of a cheap slasher film. It is ultraviolent in the manner of Stephen Sondheim’s Sweeney Todd, Brian De Palma’s Dressed to Kill and The Fury, and Stanley Kubrick’s Full Metal Jacket and A Clockwork Orange (which Hannibal quotes by scoring Jack's beating of the doctor to Gioachino Rossini's 'The Thieving Magpie') and touchstones of religious painting, such as Tintoretto’s 1565 painting of Christ’s crucifixion. It is 'studied' in the best way, i.e., thoughtful, considered. It is concerned mainly with exploring what violent actions mean (to us, and to the story) rather than simply attempting to replicate the physical experience of suffering (although it does that, too; every wounding and death on the show is viscerally jolting and also often carries an emotional charge)."

Posted by Geoff at 11:59 PM CDT
Updated: Tuesday, September 1, 2015 12:27 AM CDT
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Friday, August 28, 2015
TWEETS - MARIO TOSI & 'CARRIE'

Posted by Geoff at 11:58 PM CDT
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TWEET - DTK POSTER IN 'MISTRESS AMERICA'

Posted by Geoff at 11:52 PM CDT
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Thursday, August 27, 2015
JOE AHEARNE TALKS 'ONE WAY OR DE PALMA'
BLONDIE'S SONG & DE PALMA'S IMAGES "SHARE A CERTAIN OBSESSIVE QUALITY"

One Way Or De Palma from Joe Ahearne on Vimeo.

Rob Dean at A.V. Club asked Joe Ahearne about the creation of the excellent video he posted on Vimeo recently, One Way Or De Palma, in which he masterfully edited images from the films of Brian De Palma, setting them to a soundtrack of Blondie's One Way Or Another. Here is what Ahearne had to say to Dean:

I saw my first De Palma film when I was 17—Dressed To Kill—and that film taught me what it was a director does. It was only on repeated viewings that I realised what was happening with the slow motion (so gripped was I, I didn’t even realise the film had slowed down), the music, the colour, the editing, the framing, the camera moves, the story-telling (later on of course I realised what a superb director of actors he was too). And I hunted down all his films before and since (almost—haven’t seen Get To Know Your Rabbit yet!). I grew up on spectacle like Star Wars but De Palma showed me how a director could invest human scale drama with even more extraordinary emotion and intensity. Anyone who’s seen any of the stuff I’ve done who loves De Palma will easily spot the influences.

For a long time I’ve wanted to use De Palma’s images against Blondie’s “One Way or Another.” They share a certain obsessive quality. It was so great viewing De Palma’s last 22 films and appreciating him like a great composer, enjoying the reworking and recapitulation and reframing of themes - hearing his voice, I suppose. What really came home to me this time (I’ve seen them all many times) was what a master of colour he is. I tried to reflect that in the cut.


Ahearne said 22 films, but his video actually includes clips from De Palma's last 23 films, from Sisters on through Passion (with Home Movies and Wise Guys included in the mix).

Posted by Geoff at 11:50 PM CDT
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Wednesday, August 26, 2015
MUST-SEE VIDEO: 'ONE WAY OR DE PALMA'
EDITED BY JOE AHEARNE
Joe Ahearne, the writer/director whose Trance was recently made into an excellent feature film directed by Danny Boyle, edited together an amazing supercut of shots from Brian De Palma films set to Blondie's One Way Or Another. Titled One Way Or De Palma, the video was put together with great revelatory skill by someone who obviously knows these movies very well. This has to be the best "megamix" of De Palma's films I've seen yet-- it's a stunner, done with superb care and wit. Below is the tweet from Edgar Wright that brought my attention to the video (I cannot embed the video, so you'll have to watch it on Vimeo, where you can also download it).


Posted by Geoff at 11:50 PM CDT
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Tuesday, August 25, 2015
ITALIAN TV CINECHAT TRIBUTE TO DE PALMA SEPT 11
DISCUSSES HIS ITALIAN ROOTS, FILMS, ETC. - FOLLOWED BY 'CASUALTIES OF WAR'
Italian TV channel Studio Universal will present a tribute to Brian De Palma to mark his 75th birthday on September 11, 2015, according to TV Numeriuno. The Cinechat, which has already been recorded (with De Palma sitting in the yellow chair seen here), will be followed by a showing of De Palma's Casualties Of War. The TV Numeriuno article/press release includes several quotes from De Palma, pulled from the Cinechat:

"My Italian origin is rather rooted in me... it's a kind of baggage that I always carry."

"When I returned to Italy I was in college. I arrived in Rome with two friends and I bought a Lambretta. I will never forget the tours I made by Vittorio Emanuele... then I took a car and drove from Venice all the way to Paris. During the trip I saw the beautiful cities of Siena, Perugia, Florence with a sensation of how much beauty there is in this country."

"My experiences and my feelings are part of my films and the Italian cinema affected me very much. I remember Rossellini, Anna Magnani, and also the way in which Antonioni visually conceptualized his ideas. I will never forget movies like L’Avventura or Red Desert."

"In my opinion the best American film about Italy is The Godfather, and not because we talk about mafia, but because it tells us that the family is an integral part of Italian culture."


Posted by Geoff at 10:55 PM CDT
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Saturday, August 22, 2015
JOACHIM TRIER ON 'LOUDER THAN BOMBS'
FAN OF DE PALMA, ROEG - WORKS INTUITIVELY "IN WHAT I CALL DIRTY FORMALISM, OR POP FORMALISM"
This past June, I posted a link with an excerpt from a Cannes interview with Joachim Trier, in which the director talked about writing and creating a diary section (a kind of movie within the movie) of his new film Louder Than Bombs. In that interview, Trier told The Upcoming's Christian Herschmann that prior to discovering the social realist films of Ken Loach, Steven Frears, and Mike Leigh, "I was really into Antonioni, Alain Resnais and Brian De Palma. I wanted montage and the break of the image and the form to be really at the essence of what I did, and I think I changed."

In responding to Herschmann's question of how he became interested in the sort of written text being presented "in a very visual way, as a montage of imagery" (which Herschmann points out was also used in Trier's Oslo, August 31st), Trier states, "I still have one foot in that kind of formalism. Showing thought patterns in cinema through montage I find very interesting. And it’s been appropriated by commercials, but I always try to show that it could be more expressive and, ideally, more complex."

In a new interview posted yesterday by Variety's Jon Asp (from the Norwegian Film Festival at Haugesund), Trier is asked how he comes up with ideas. "I like working intuitively," Trier responds, "in what I call dirty formalism, or pop formalism. I jokingly say that our films should be like great albums with different songs. I am a big fan of Nicolas Roeg, Don’t Look Now, which could be very specific conceptual things, but it was a warm formalism, it didn’t alienate you. I’m also a very big fan of Brian De Palma. I believe in the idea of doing a cinematic set piece, like Conrad’s diary, it’s like film in itself, or the car crash sequence with Isabelle, and the association of the son thinking of his mother and the last moments of her death, are whole set pieces, a film within the film. So it’s like an album. You have different songs, hopefully most of them are hits."


Posted by Geoff at 6:58 PM CDT
Updated: Tuesday, August 25, 2015 11:01 PM CDT
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'OH, I THINK YOU SHOULD TELL HIM WHAT YOU THINK'
"I MEAN, WHY WOULD YOU EVER HOLD SOMETHING LIKE THAT INSIDE?"

Posted by Geoff at 6:07 PM CDT
Updated: Saturday, August 22, 2015 7:01 PM CDT
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Friday, August 21, 2015
'DE PALMA' DOC TO SCREEN AT NYFF
AND 'BLOW OUT' TO SCREEN AS PART OF NYFF REVIVALS LINEUP
The New York Film Festival announced today that Noah Baumbach and Jake Paltrow's De Palma documentary will have its North American premiere at this year's fest as part of its Special Events lineup. In conjunction with that screening, De Palma's Blow Out will screen at the festival under its Revivals section. Both films will screen on Wednesday, September 30th (De Palma at 5pm and Blow Out at 8pm). The NYFF runs September 25 through October 11. Below are the festival's descriptions of both films:
De Palma
Noah Baumbach & Jake Paltrow, USA, 2015, DCP, 107m

Noah Baumbach and Jake Paltrow’s fleet and bountiful portrait covers the career of the number one iconoclast of American cinema, the man who gave us Carrie, Dressed to Kill, Blow Out, and Carlito’s Way. Their film moves at the speed of De Palma’s thought (and sometimes works in subtle, witty counterpoint) as he goes title by title, covering his life from science nerd to New Hollywood bad boy to grand old man, and describes his ever-shifting position in this thing we call the movie business. Deceptively simple, De Palma is finally many things at once. It is a film about the craft of filmmaking—how it’s practiced and how it can be so easily distorted and debased. It’s an insightful and often hilarious tour through American moviemaking from the 1960s to the present, and a primer on how movies are made and unmade. And it’s a surprising, lively, and unexpectedly moving portrait of a great, irascible, unapologetic, and uncompromising New York artist. In conjunction with this film, we will also be showing De Palma’s masterpiece Blow Out. North American Premiere

Blow Out
Brian De Palma, USA, 1981, 35mm, 107m

One of Brian De Palma’s greatest films and one of the great American films of the 1980s, Blow Out is such a hallucinatory, emotionally and visually commanding experience that the term “thriller” seems insufficient. De Palma takes a variety of elements—the Kennedy assassination; Chappaquiddick; Antonioni’s Blow-Up; the slasher genre that was then in full flower; elements of Detective Bob Leuci’s experiences working undercover for the Knapp Commission; the harshness and sadness of American life; and, as ever, Hitchcock’s Vertigo—and swirls and mixes them into a film that builds to a truly shattering conclusion. With John Travolta, in what is undoubtedly his greatest performance, as the sound man for low-budget movies who accidentally records a murder; Nancy Allen, absolutely heartbreaking, as the girl caught in the middle; John Lithgow as the hired killer; and De Palma stalwart Dennis Franz as the world’s biggest sleaze. This was the second of three collaborations between De Palma and the master DP Vilmos Zsigmond. MGM Home Entertainment.


Posted by Geoff at 12:39 PM CDT
Updated: Wednesday, August 26, 2015 12:24 AM CDT
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