AND DE PALMA WAKES UP WITH NEW IDEA FOR SCRIPT SET AT EIFFEL TOWER (IN THIS WEEK'S NEW YORKER)
This new, second De Palma poster popped up today from A24. Meanwhile, in this week's issue of The New Yorker, Tad Friend sits in on a Thursday night dinner with Brian De Palma, Noah Baumbach, and Jake Paltrow:
Brian De Palma tucked his napkin under his chin and said, “I woke up in the middle of the night with this idea for a script. In the last big scene, my lead character is photographing a movie set at the foot of the Eiffel Tower. Meanwhile, my other story line is winding up on top of the tower.” Noah Baumbach and Jake Paltrow leaned in over their kale salads at Gotham Bar and Grill. De Palma, bearded and bulky at seventy-five, wore a safari jacket, as befits a Hollywood director; his clean-shaven, slimmer, much younger friends from the indie world bracketed him in navy suits. De Palma went on, “So I asked myself, ‘What movie could be shooting at the foot of the Eiffel Tower?’ And I said, ‘Vertigo’!”
Everyone grinned; the Hitchcock classic had left a heavy impress on such De Palma films as “Body Double” and “Dressed to Kill.” He went on, “ ‘Vertigo’ was originally a French novel, so I have to read it and figure out how, in the French version, did they kill the wife?”
On Thursday nights, the three directors, often joined by Wes Anderson, meet for dinner here or at Bar Pitti. One week in 2010, Baumbach and Paltrow filmed De Palma to preserve his stories for posterity. Over the years, they shaped their home movies into a documentary, “De Palma,” which just opened. Then they all went back to meeting simply to talk shop.
De Palma mentioned two enduring sources of chagrin: getting shot in the leg by the cops for hot-wiring a motor scooter when he was twenty, and casting the bronzed, wooden Cliff Robertson in “Obsession” in order to get the film made. (“That ridiculous tan!”) Then Paltrow threw out an idea: “How about a surveyor? Someone buries treasure as he’s watching through his lenses. That could be a De Palma.” De Palma chuckled noncommittally. Baumbach said, “Sometimes we come up with our concept of a De Palma movie and see if De Palma likes it.”
“We’re batting in the low .120s,” Paltrow said.
But De Palma said that their selection of clips from his movies for the documentary—cat-footed tracking shots, women being slashed to bits, cascades of blood—proved that they understood his predilections. “Watching it was like when you die and everything . . .” he revolved his hand, film-reel style, to indicate his life flashing before his eyes.
(Read the rest at The New Yorker)