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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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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

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The Master Of Suspense

Alfred Hitchcock Films

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and the Infield
Fly Rule

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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

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Offices of Death Records

The Carlito's Way
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Kubrick on the
Guillotine

FilmLand Empire

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A Lonely Place

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italkyoubored

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Nothing Is Written

Ferdy on Films

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Dangerous Minds

EatSleepLiveFilm

No Time For
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De Palma a la Mod
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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.
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Ambrose Chapel
Are Snakes Necessary?
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Monday, August 22, 2016
'DRESSED TO KILL' SOUNDTRACK FRESH REMASTER
INTRADA NEEDED TO RE-PRESS POPULAR TITLE, DECIDED TO RE-DRESS, AS WELL
Intrada announced today a newly re-dressed, re-mastered, and re-worked version of Pino Donaggio's Dressed To Kill soundtrack. Intrada previously released a Special Collection limited version of this title in 2013.

Here is how Intrada describes this new edition: "Re-dressing a popular Intrada title! As needs to re-press Dressed To Kill arose, Intrada elected to return to original source mixes and remaster entire CD, making new enhancements to audio as well as judicious changes to original track assembly. Additionally, slightly re-worked packaging design by Kay Marshall enhances this new remastered edition."

The changes to the track assembly involve more separation of cues, including "Mike Arrives" (which had previously been included in the track "Marino And Elliot"), "Policewoman Follows Liz" (which had previously been part of "Peter Sets Camera"), "After Flight" (previously part of "Liz Chased By Hoods"), "Elliot And Levy" (previously part of "Liz And Peter Watch Film"), and "Romantic Interlude" (previously part of the track now called, simply, "Liz And Peter").

(Thanks to Bill!)


Posted by Geoff at 11:58 PM CDT
Updated: Tuesday, August 23, 2016 12:12 AM CDT
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Saturday, August 20, 2016
WRIGHT TO PRESENT 'PHANTOM' IN LONDON OCT 10
PART OF CULTURE SHOCK SERIES AT PICTUREHOUSE, "EDGAR WRIGHT PRESENTS.."


Hot on the heels of its Nicolas Winding Refn Presents… series, which included Brian De Palma's Body Double, Picturehouse and Culture Shock bring a season of Edgar Wright Presents.... This series, which begins September 12th, will include a screening of De Palma's Phantom Of The Paradise on October 10th.

Edgar Wright's Verdict: "Brian De Palma’s only rock-and-roll horror opera! Does that not grab you? For my money it’s better than The Rocky Horror Picture Show, with a satirical script, eye-popping visuals, and iconic cult performances by Paul Williams, Gerritt Graham, Jessica Harper and William Finley. Obsessed over by Guillermo Del Toro, Daft Punk and myself, this will become your new favourite cult movie."

The series page states, "Mr Wright will try and introduce them all in person, but as he is a very busy man look out for confirmation via social media as the dates approach!" The other films chosen by Wright are: Michael Cimino's Thunderbolt And Lightfoot, John Landis' The Blues Brothers, Joel and Ethan Coen's Raising Arizona, Walter Hill's The Driver, and Russ Meyer's Beyond The Valley Of The Dolls.


Posted by Geoff at 6:10 PM CDT
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Friday, August 19, 2016
SONY 'BODY DOUBLE' BLU-RAY MOD COMING IN OCT
According to Blu-ray.com, Sony Pictures Home Entertainment today revealed five titles as part of its first waves of Manufactured on Demand Blu-ray releases. One of those titles is Brian De Palma's Body Double, which will be available beginning in October. Body Double will be presented in full high definition with lossless audio, as will the others in the program.
(Thanks to Adam!)

Posted by Geoff at 5:17 PM CDT
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Thursday, August 18, 2016
'BLOW OUT' & 'CARRIE' HAUNT 'MR. ROBOT'
PINO DONAGGIO THEME FROM 'BLOW OUT' SCORES FLASHBACK INTRO TO LAST NIGHT'S EPISODE
Last night's episode of USA's Mr. Robot (season 2, episode 7, "eps2.5h4ndshake.sme"), which was directed by the show's creator, Sam Esmail, opened with a flashback set to Pino Donaggio's theme from Brian De Palma's Blow Out. The theme is the first significant sound heard in the episode (after a couple of footsteps), runs over the opening title and beginning of the credits, and includes a direct homage to De Palma's Carrie, a film which was also scored by Donaggio.

The episode opens with a hint of the way Donaggio's music brings us into Kate Miller's world in the first part of De Palma's Dressed To Kill. The Blow Out theme, lush and melancholic, is accompanied by a camera (us, the viewer, a.k.a. Elliot's "friend") consistently pushing in toward Joanna Wellick, the wife of Tyrell Wellick, a character we are so far led to believe is no longer alive. The flashback is centered on a gift, earrings, that Tyrell had given to Joanna just before a social gathering. As the camera gets closer to Joanna, and Donaggio's music offers sad reflection, Tyrell appears, and even when the scene shifts to the gathering (which includes the woman Tyrell murdered last season, leaving us without a doubt that we're in a flashback), the movement keeps moving from wide shot and, with help of a dissolve, into Joanna's face, seemingly moved by the earrings, the camera eventually providing the viewer a close-up view of an earring in Joanna's ear which, via a match-cut, takes us out of pre-Tyrell's disappearance and into a more present-day, post-Tyrell flashback, where Joanna is tending to her baby in a stroller on the street.

Donaggio's theme here enters into its sparse piano portion (the part that Tarantino used for a tender texting moment in Death Proof), as the episode's opening credits also begin. An older woman is walking by, and Joanna smiles at her, but the woman turns out to be one of the many angry members of society walking around the city in the wake the E Corp hack. Targeting Joanna (and while we as viewer are still focused on the fact that she is wearing the expensive earring gift), the woman suddenly throws a bucket of what appears to be red paint onto Joanna, while shouting, "Capitalist pig!" The use of the word pig, a bucket, and the color red (whether actual pig's blood or red paint) mark the moment as an overt homage to De Palma's Carrie, as does the way Joanna then begins to scream out at the world while splattered in red, yet we can't hear her screams, only the quiet piano of Donaggio's theme from Blow Out, as the title "Mr. Robot" starkly appears overlayed upon Joanna's rage.

As Donaggio's theme trails off to its poignant final notes, the scene shifts once again into present day, as Joanna is now gazing upon a new gift set on top of her kitchen counter: a framed ultrasound sonogram of the baby she and Tyrell created. Joanna has been receiving gifts that seemingly come from Tyrell, who may be dead, and as the camera looks up from the countertop to Joanna sipping on a glass of wine as she looks down at the gift, we hear Elliot's voice ("I see you"), and for a moment, juxtaposed against Joanna's face, we sense that Elliot has been sending the gifts, and perhaps watching Joanna, until we realize Elliot is addressing us, his "friend," the viewer. Or is he...?

In any case, it is a brilliantly-conceived opening sequence by Sam Esmail. Looking forward to seeing how it all fits in once we know the truth about everything that is actually going on.



Posted by Geoff at 8:20 AM CDT
Updated: Friday, August 26, 2016 6:17 PM CDT
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Wednesday, August 17, 2016
'SCARFACE' POSTER IN 'WAR DOGS'
AND TWO OTHER DE PALMA FILMS IN FILMS




Previously:
Scarface Poster A Key Part of Trainwreck Joke


Posted by Geoff at 9:10 PM CDT
Updated: Wednesday, August 17, 2016 9:13 PM CDT
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Tuesday, August 16, 2016
FREE DE PALMA SERIES IN MADISON THROUGH SEPT.
DOUBLE FEATURES ON FRIDAYS BEGINNING AUGUST 26, PLUS 'DE PALMA' DOC, ALL FREE


Cinematheque at University of Wisconsin has scheduled a Brian De Palma series around a September 2 screening of the De Palma documentary. Four tantalizing double features are included: Dressed To Kill and Blow Out (both from DCP) on Friday August 26th, Sisters and Raising Cain (both in 35mm) on Friday September 9th, Obsession and Body Double (both from DCP) on Friday September 16th, and Mission: Impossible and The Untouchables (both in 35mm) on Friday September 23rd. Also included is Scarface (DCP), doubling as part of the Cinematheque's "Marquee Mondays" series on Monday September 19th. All screenings will be free of charge.

Posted by Geoff at 11:57 PM CDT
Updated: Wednesday, August 24, 2016 8:36 PM CDT
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Monday, August 15, 2016
T&M TUMBLR JUXTAPOSES DE PALMA / SPIELBERG
LIQUID DROPS IN 'MISSION: IMPOSSIBLE' AND 'MINORITY REPORT'
The tumblr Tea and a Movie ("Watching movies, drinking tea") has posted a series of juxtaposed frame captures from Brian De Palma's Mission: Impossible (1996) and Steven Spielberg's Minority Report (2002). The presence of Tom Cruise in both scenes perhaps makes it clear that these two film scenes are in dialogue with each other. However, this is a dialogue that began (perhaps) with the drops of water in Spielberg's Jurassic Park (1993), which was adapted by David Koepp, who adapted Carlito's Way for De Palma that same year, and who went on to be De Palma's choice for screenwriter on Mission: Impossible. Following that, Spielberg and Koepp kept the dialogue going a year later with a wild scene in The Lost World: Jurassic Park (1997) that, short of having a Tom Cruise stop just shy of hitting the floor and setting off the alarm of a CIA vault, had Julianne Moore fall and smash face-down, spread eagle onto the rear window of a trailer that has been pushed over a cliff. Spielberg mines the suspense in this scene as a direct "check-this-out" homage to his friend, De Palma, as Moore tries delicately to remove herself from the shattered glass with minimal movement. Koepp included a similar suspense scene in one of his Sam Raimi-directed Spider-Man movies, and in Minority Report, Spielberg also borrows a visual idea from De Palma's Snake Eyes (1998) (which again had a screenplay written by Koepp) by having the camera track through a building overhead, moving from room to room with a "God's eye" view.

Check out the full tumblr juxtapositions at Tea and a Movie.

Posted by Geoff at 11:58 PM CDT
Updated: Tuesday, August 16, 2016 12:30 AM CDT
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Saturday, August 13, 2016
TARANTNO / DE PALMA LAP DANCE COMPARISON
VIDEO ESSAY BY CANDICE DROUET SUGGESTS HOMAGE TO 'FEMME FATALE' IN 'DEATH PROOF'
When I first saw Quentin Tarantino's Death Proof in 2007, I recall thinking it was interesting that Tarantino had included a lap dance in the film, after Brian De Palma had recently included one in his 2002 film, Femme Fatale. Both scenes take place somewhat spontaneously in a bar. Now, Candice Drouet, described by IndieWire's Kate Erbland as "an actress who also routinely crafts some stunning video essays," has created a video essay comparing the two scenes.

Also of note: in Death Proof, Tarantino includes at least one other De Palma homage when he uses Pino Donaggio's "Sally And Jack" theme from De Palma's Blow Out to score what becomes a tender texting scene.

Watch Drouet's video essay below:


Posted by Geoff at 7:44 PM CDT
Updated: Saturday, August 13, 2016 7:46 PM CDT
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Wednesday, August 10, 2016
NOW FUQUA IS IN TALKS FOR 'SCARFACE' REMAKE
AS LARRAIN'S "DREAM PROJECT" IS SUDDENLY OUT OF HIS HANDS
The Scarface remake just got a lot less interesting. When it was reported in March 2014 that Pablo Larraín was in negotiations to direct Universal's new remake of Scarface, this blog's ears perked up. And then this past March, Larraín told The Guardian's Danny Leigh that the Scarface remake was his dream project. Leigh states in the article that the film "would be set in Los Angeles, with a Mexican kingpin replacing the Cuban Tony Montana." Larraín also told Leigh that the project was, at that time, stuck in development.

Well, "stuck in development" in this case appears to mean "we're looking for a new director." Today, Deadline's Mike Fleming Jr. reports that Antoine Fuqua is now in talks to direct the "re-imagining," as Fleming puts it. The film will still be set in Los Angeles, according to Fleming, but his article today says nothing about the character being Mexican, though it still seems a likely possibility, as Jonathan Herman is still mentioned as the latest screenwriter on the project (Herman was hired in March 2015 on the heels of writing the screenplay for Straight Outta Compton). The initial draft of this new Scarface was written by David Ayer, the writer of Training Day, which was directed by Fuqua. In between Ayer and Herman, Universal brought in Donnie Brasco screenwriter Paul Attanasio to do a rewrite on Ayer's draft.

And so that's where it stand for the moment. Fuqua is gearing up for the release next month of yet another remake, The Magnificent Seven, which will also be the opening night film at next month's Toronto International Film Festival.

And lest we forget to mention, twelve years ago, Fuqua was gearing up to direct Capone Rising, a prequel to Brian De Palma's The Untouchables. De Palma eventually decided that he wanted to direct that one, after all, but then that project got mired in red tape. In any case, here's a fun item from June 30, 2004:

Posted June 30 2004
FLASHBACK - 2004
FUQUA WANTS SEAN PENN FOR UNTOUCHABLES 'PREQUEL'
One of the Hollywood projects Brian De Palma was considering taking on last fall was Tru Blu, the biopic of heroin smuggler Frank Lucas. But De Palma signed on for The Black Dahlia, and while he was working on that film, Antoine Fuqua, director of the upcoming King Arthur, signed on to direct Tru Blu. According to IESB.net, Fuqua mentioned at the King Arthur press junket that he will also be working on a prequel to The Untouchables. The prequel will focus on a young Al Capone, and Fuqua says his ideal choice of actor for the role would be Sean Penn. (Isn't Penn about the age right now that Robert De Niro was when he played Capone? The magic of movies.) Penn pal Benicio Del Toro will star opposite Denzel Washington in Fuqua's Tru Blu. But the intertextuality of Penn playing a younger version of De Niro after De Niro, early in his career, played a younger version of Marlon Brando in The Godfather: Part II is intriguing. Speaking of which, Fuqua also mentioned that he wants to direct a Godfather film.

Posted by Geoff at 6:30 PM CDT
Updated: Thursday, August 11, 2016 1:05 AM CDT
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Tuesday, August 9, 2016
KUSAMA'S 'INVITATION' INSPIRED BY EARLY DE PALMA
AS WELL AS 'ALL THE PRESIDENT'S MEN' & 'THREE DAYS OF THE CONDOR'
Bloody Disgusting's Chris Webster posted an article a couple of weeks ago in which he extracts five interesting facts from the audio commentary track of the newly-released Blu-ray edition of Karyn Kusama's The Invitation. One of those facts is that "Kusama was inspired by 70’s thrillers"...
While All the President’s Men, Three Days of the Condor and the early work of Brian De Palma don’t share a similar narrative to The Invitation, they set the stage for Kusama’s approach to the style of her film. Even The Invitation‘s simple title card, which Kusama describes as 'spare and offset,' gets attributed to All the President’s Men and other films of the era that she says took a radical approach at the time.

Back in 2009, Kusama introduced her film Jennifer's Body at the Toronto Film Festival, naming De Palma's Carrie as an inspiration, along with Heathers and A Nightmare On Elm Street.

Posted by Geoff at 11:57 PM CDT
Updated: Wednesday, August 10, 2016 12:11 AM CDT
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