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Here is the latest news:
a la Mod:
"There is a little of Sergio Leone and the classic pulp westerns of Elmore Leonard, and as a big drama in a little place it could almost be a Sam Peckinpah version of a swearified Harold Pinter. Later, for obvious reasons, it will look like Brian De Palma’s Carrie. But this movie is just so utterly distinctive, it really could be by no-one else but Tarantino. The inventive, swaggering dialogue is what drives it onward: quintessentially American. (I continue to think that Inglourious Basterds [is] the weakest of Tarantino’s films because he strays away from the American wellspring.) And The Hateful Eight repeats a classic trope from Reservoir Dogs: the idea of being in unbearable pain from a gunshot wound, but still talking, still being a threat. There is a horrible kind of black-comic heroism in continuing to threaten and crack wise while being in the same kind of unbearable agony you are planning to inflict on someone else. 'Thriller' is a generic label which has lost its force. But The Hateful Eight thrills."
ROBERTS: At the party, Bobby Moynihan does this hilarious Scarface charade which made me wonder if that was a little inside joke or nod to Brian De Palma because he not only made Scarface, but he also made a film called Sisters?
MOORE: (laughing) Wow! No, it wasn’t that. We didn’t go that deep, but I love that you made that connection. We always knew that we wanted Bobby to do that line from Scarface since he was going to do this fake kind of Cocaine drug. That’s where that came from.
For over 55 years, legendary composer Pino Donaggio has been in the forefront of the Italian popular music scene; 40+ years of his career have spanned an impressive line of film scores as well. This orchestral album, Canzoni per il Cinema, is a testament to the composer’s versatility, featuring some of his most popular songs for cinema in brand-new orchestral arrangements.
Recorded with The Bulgarian Symphony Orchestra under the baton of Maurizio Abeni, the program—personally selected by Donaggio—focuses on two different types of compositions: it naturally includes some of Donaggio’s most beloved theme songs written for movies (Don’t Look Now, Carrie, Blow Out, Trauma, Cin cin, etc.), but it also includes some of his pre-film-scoring hits that were subsequently used in various films (immortal songs such as “Io che non vivo,” “Come sinfonia” or “Una casa in cima al mondo”). The selection thus comprises not only fan favorites, but also some lesser-known pieces that merit a second look in the decades-spanning career of Pino Donaggio.
Jones replies, "For a very specific reason, because Noah Baumbach and Jake Paltrow just did a movie about him. They worked on that film for about four years. I asked [De Palma] and he said he wanted to save what he thought about Hitchcock for their movie. We just showed the documentary [De Palma] at the New York Film Festival. Noah and I are pretty good friends, and we kind of exchanged movies at a certain point and we both were amazed at how much they just talked to each other. That’s what their movie is, just Brian and nobody else. He’s talking about his craft, and he’s talking a lot about Vertigo. In fact, the movie begins with a clip from Vertigo. That seemed like a very compelling reason for [De Palma] to not be in [this] film."
Also at RogerEbert.com, Odie Henderson reviews Hitchcock/Truffaut. Henderson concludes in his review, "One interview subject you might be expecting is missing from Hitchcock/Truffaut. Brian De Palma declined to appear in the film, but he had a good reason. He was busy sitting with Noah Baumbach and Jake Paltrow for their one-man interview/documentary, De Palma. That film, which is also quite good, would make a great double feature with Hitchcock/Truffaut. Both films feature a director talking to another director about his body of work. The similarities are complementary, and I can think of no better way to waste an afternoon if you love movies."
Meanwhile, Gordon's episode of Fargo last week, "Loplop", features a heavy amount of split screen work (a running visual style through every episode of the season), a suspenseful pan from a TV screen and then around a character's head, leading to an uh-oh reveal, and a crazy, hilariously outrageous performance from Kirsten Dunst.