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Domino is
a "disarmingly
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


Exclusive Passion

Brian De Palma
Karoline Herfurth
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AV Club Review
of Dumas book


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Scarface: Make Way
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De Palma a la Mod

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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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Friday, September 23, 2016
Joe Napolitano passed away July 23 in Los Angeles, following a battle with cancer, Variety reports. He was 67. Napolitano was a respected TV director who spent the early part of his career as first assistant director on feature films, where he worked most prominently on every Brian De Palma picture between 1981 and 1987: Blow Out, Scarface, Body Double, Wise Guys, and The Untouchables. He also worked with De Palma on the Bruce Springsteen music video, Dancing In The Dark (1984). Napolitano discussed the making of Body Double for the Carlotta Ultra Collector's Box of the film, which was released in France last December.

In her 1984 book on the making of Body Double (Double De Palma), Susan Dworkin describes Napolitano as one of the three major figures on the set (aside from De Palma). Napolitano "had worked with Brian on Blow Out and Scarface and knew him as well or better than anyone else on the production," Dworkin writes. "Short and good-looking, with an uptilting mouth always ready to grin, Joe was responsible for seeing to it that Brian got exactly what Brian wanted. Howard Gottfried called him by the affectionate Yiddish diminutive 'Yossele' because he gave the impression of being such a sweet guy, a regular pussycat."

Following Wise Guys, which had co-starred Danny DeVito, Napolitano worked as first assistant director on DeVito's directorial feature debut, Throw Momma From The Train.

Napolitano can be seen shadowing De Palma on the sets of Body Double and The Untouchables in the two pics below:

Posted by Geoff at 8:24 AM CDT
Updated: Saturday, September 24, 2016 10:57 AM CDT
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Thursday, September 22, 2016

Posted by Geoff at 8:29 AM CDT
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Wednesday, September 21, 2016
Danny McBride, co-creator of HBO's Vice Principals, talked to Uproxx's Steven Hyden about the show, mentioning Brian De Palma in regards to the upcoming second season. Here's the excerpt from Hyden's article:
Even by the insane standards of the HBO comedy’s inaugural season, Sunday’s Vice Principals season finale was, well, very insane. Over the course of nine polarizing episodes, in which co-creators Jody Hill and Danny McBride walked the razor’s edge between pitch-black comedy and disquieting psychological drama, Vice Principals followed the efforts of school administrators Neal Gamby (Danny McBride) and Lee Russell (Walton Goggins) to overthrow their new boss, Belinda Brown (Kimberly Hebert). Along the way, there were some extremely uncomfortable moments, including an act of arson at Brown’s home and a horrifying night of destruction prompted by a bottle of gin.

And then there was Sunday’s episode, in which [SPOILERS AHEAD] Gamby and Russell finally succeed in getting rid of Brown. Better yet, they’re appointed co-principals of the school. But just when everything appears to have worked out for the show’s protagonists/villains, Gamby is gunned down in the school’s parking lot by a mysterious masked figure, and apparently left for dead.

Vice Principals ended its first season as it began — uneven, erratic, and yet also thrillingly unpredictable and unique. It wasn’t perfect, but Vice Principals was a welcome oddity amid an increasingly conformist television landscape. As the conventions of “Good TV” are codified and reduced to formula — with an established set of clearly defined storytelling perspectives and moral objectives — Vice Principals stubbornly went against the grain, never letting the audience off the hook by telling it how to feel about its deeply flawed characters.

Initially conceived as an 18-episode limited-run series, Vice Principals already has its second and final season in the can. “Everyone could watch it now if HBO would just release it. It’s ready. It’s there for you to see,” McBride told us Monday in a phone interview.

As for what viewers should expect from Vice Principals moving forward, McBride says “we were channeling a lot of John Hughes and ’80s teen comedy in the first season, and I feel like in the second season we start channeling a lot of Brian De Palma.”

Posted by Geoff at 12:22 AM CDT
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Tuesday, September 20, 2016

Posted by Geoff at 8:13 AM CDT
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Sunday, September 18, 2016
The Platform jury at the Toronto International Film Festival, made up of Brian De Palma, Mahamat-Saleh Haroun, and Zhang Ziyi, chose Pablo Larraín's Jackie for its $25,000 prize. The film stars Natalie Portman as Jacqueline Kennedy. The festival concluded today with that award and others, including the People's Choice Award, the fest's top honor, which went to Damien Chazelle's La La Land.

According to The Guardian's Nigel M Smith, the Platform jury members jointly stated of Jackie, "Our decision was unanimous. We found one film that combined an extraordinary script with precise direction and unforgettable acting."

At the film's TIFF premiere, Larraín told Vanity Fair's Julie Miller that when producer Darren Aronofsky suggested the project to him, Larraín responded that he would only direct the film if Portman portrayed the title character. "I didn’t see anybody else playing her,” he told Miller. "It was a combination of elegance, sophistication, intelligence, and fragility. Beauty and sadness can be something very powerful in our culture."

Here's a further excerpt from Miller's article:

At the time, Larraín did not really love the script for the project; did not feel a personal connection to Kennedy; had never made a film about a female character; and honestly did not like traditional biopics. But he was certain of one thing he would do if Portman agreed to star.

“I told her, ‘Look, I have not talked to the writer—but if I were to do this movie, I would take out all of the scenes you are not in.’”

The result is a fragmented retelling of the four days following John F. Kennedy’s assassination, told through the feverish prism of post-traumatic stress disorder. Larraín takes the same artistic liberty with Neruda, which doesn’t tell a linear life story so much as it gives viewers an original, entertaining experience that encapsulates the subject’s persona. In Neruda, Larraín does so by using the poet’s love of crime novels to fashion the film into a detective story, starring Gael García Bernal, about an inspector trying to track down his exiled title subject.

“When you make a movie about a poet from the 40s, my biggest fear is to make a boring movie,” Larraín explains. “We create a fiction over a non-fiction. I don’t expect these to be used as educational tools. I remember I was an exchange student in the U.S. for half a year, and I would go to high school and they would show movies about the Civil War, movies about Abraham Lincoln. And all of those movies were terrible. . .We worked hard not to make [these films] entertaining just to be entertaining, but there are a lot of interesting, fun elements there, and they are beautiful and very simple but sophisticated. They are character studies about a very specific time in these people’s lives, and being fascinated by the characters. What I've learned with cinema is you really have to be fascinated by the characters.”

Before making Jackie, though, Larraín—who did not grow up in the U.S.—had to find his personal connection to Kennedy.

As he told Aronofsky, who urged him to make the project, “I don't know why you are calling a Chilean to make a movie about Jackie Kennedy—but that’s your call.” And after his initial meeting with Portman, the filmmaker realized that his personal connection to Kennedy was still missing.

“I went home and I was like, there’s something else in here. I started Googling and on YouTube I found this White House tour from 1961 that I had no idea existed,” explains the director. “I couldn’t believe my eyes. I couldn’t believe what I was watching. . .She actually raised private money, and what she did was a restoration, going with a team of people all over the U.S. to find furniture that at some point was in the White House but was sold for different reasons. I thought it was just so beautiful the way she did it, and I fell in love with her watching that program—just the way she moved, the fragility, the way she explained things, how educated she was. This idealism that she had. It sounds naive, this Camelot thing to me, but once I got into it I found it very interesting and beautiful and deep even though I’m not American.”


Scarface remake would have been Larraín's "dream project"

Posted by Geoff at 11:58 PM CDT
Updated: Monday, September 19, 2016 12:30 AM CDT
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Nashville's nonprofit film center, The Belcourt, is hosting a series titled "Jewels and Jim: Ridley's Believe It or Not" next weekend (September 23-26), a tribute to Jim Ridley, the Nashville Scene editor who passed away suddenly this past April. Ridley wrote many insightful reviews of Brian De Palma films, and hosted screenings at the Belcourt. De Palma's Femme Fatale is included in next weekend's rather incredible series of films, and will be screened from a 35mm print on Saturday, September 24th at 8pm.

The series page uses the following pull-quote from Ridley's 2003 review of the film: "Brian De Palma’s curse is to know more about movies, and movie history, than the hacks who keep calling him a Hitchcock scavenger. In the case of this exhilarating and deviously multifaceted thriller—a film-studies dissertation hidden in a bottomless box of chocolate-covered sin—accusing him of ripping off Hitchcock is like accusing Todd Haynes of ripping off Sirk. Not just a daredevil piece of cinematic storytelling, juggling multiple plots, paths and even destinies, this is a master class in how to visually organize a movie. When it comes out on DVD, spend an afternoon tracing its running-water motif—and watch open-mouthed as an uproariously trashy thriller suddenly yields a complex symbolic and spiritual order. I hear there’s nekkid women in it too."

The series page includes the following description from Nashville Scene managing editor D. Patrick Rodgers:

For many years, Nashville Scene editor and Middle Tennessee native Jim Ridley was a constant fixture at the Belcourt. A true talent, Jim was an exceptionally gifted journalist and critic, respected for his work with the Scene, where he was a writer and editor for well over two decades.

In April, Jim died suddenly at the age of 50. But his passion for film, a passion that drove our arts community to greater heights and very directly played a role in saving the Belcourt from the brink of demise lives on in those of us who knew him and those of us who read him.

For the Belcourt’s Jewels and Jim series—named for François Truffaut’s 1962 masterpiece JULES AND JIM, one of Ridley’s longtime favorites—several of Jim’s friends, family members and fellow Belcourt-frequenting cinephiles picked out films that pay homage to the man. These are films that Jim loved, that you may have found him discussing as he held court in the Belcourt’s lobby late at night after a screening.

From Martin Scorsese’s MEAN STREETS to Jonathan Demme’s Talking Heads concert documentary STOP MAKING SENSE, from Chuck Jones’s classic animated short “Duck Amuck” to Chia-Liang Liu’s 8 DIAGRAM POLE FIGHTER, the Jewels and Jim series, like Jim himself, is all over the map. Some of these films are funny, some are dark, some are hopeful, and some are technically astounding. But every last one of them is an absolute treat, a gem picked by Jim, begging to be shown on one of the Belcourt’s screens.

Meanwhile, The Belcourt is nearing the end of its De Palma series, of which Saturday's Femme Fatale is also a part, along with this Wednesday's 35mm-screening of De Palma's Mission: Impossible.

Posted by Geoff at 4:11 PM CDT
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Friday, September 16, 2016
Armond White reviews Oliver Stone's Snowden for National Review, bringing Brian De Palma's Redacted into the discussion to say that Stone and De Palma have "succumbed to political clichés and liberal nostalgia" since their Scarface days. Here's an excerpt from White's review:
Stone’s Snowden is cynical without wisdom — just righteousness. Falling for the contemptuous line “You’re only protecting the supremacy of your government” doesn’t jibe with his supposed interest in protecting the U.S. after 9/11. Stone indulges this specious optimism then teases with it when geeky Snowden chooses the Internet as his “sin of choice” and CIA brass tell him, “You’ve come to the right whorehouse.”

Stone confuses sexual exploitation with the idea of the U.S. as a Super Spy nation that rapes its own citizens. This resembles the disillusionment that Brian De Palma displayed in his anti–Iraq War movie Redacted. A scene in which Snowden is reprimanded by a wall-size video projection of his boss — he’s symbolically dwarfed by the looming Big Brother government — is so over-obvious that it made me wish De Palma were applying his voyeuristic, techno-geek satire to this story (and to the sexual complicity of Snowden’s relationship with his ambitious girlfriend Lindsay, an anti-American fellow traveler played by Shailene Woodley).

When De Palma and Stone collaborated on Scarface (1983), they were more politically challenging. Unfortunately, both De Palma and Stone have since succumbed to political clichés and liberal nostalgia. They no longer challenge themselves. In Scarface, it was always clear that Al Pacino’s Tony Montana, the drug-dealing illegal immigrant, was a criminal; his gangster “hero” had slipped in through the cracks of U.S. diplomacy and capitalism. Yet here, Snowden’s betrayal of his employer — which might be considered criminal in the private sector — is justified as virtuous. “You’re running a dragnet on the whole world!” Snowden petulantly objects. (Stone then cuts to footage of Venezuelan dictator Hugo Chavez as an example of an “ousted Third World leader who would not play along.”)

In Stone’s 2013 drugs-sex-class feature Savages, home-grown criminality was thrillingly understood as a warped version of American values. Perhaps Stone needs to work from fiction in order to be a dazzling artist — as he was in making JFK, Any Given Sunday, and Alexander. But when borrowing semi-documentary style in Snowden, Stone forgets he’s telling a story of sedition, and he loses both his sense of human nature and his cinematic dazzle. The smug final image of Snowden taking asylum in Russia (“I’ve gained a new life”) shows him in heroic profile, completely overlooking the fact of his (and Poitras’s and Greenwald’s) seditious radicalization. Stone abets these traitors’ pride. His skill as a filmmaker and his virtue as a disgruntled American are the immediate casualties.


Stone talked through some of his filmography with the Los Angeles Times' Josh Rottenberg. Here's what he said about Natural Born Killers:

“That hurt. Warner Bros. never really supported the film. When I showed it to them, I had never seen such shock on the faces of the execs. It was like, ‘How are we going to release this movie?’ I think they never got their hands around it.

“That was a depressing time for me because the attacks were mean-spirited. It’s a unique picture, I think. It’s not normal. It’s a sensory overload. It was going back to my ‘Scarface’ days. It was, ‘OK, let’s ramp up the coarseness and the vitality.’ It’s a love story wrapped in a horror film.”

Posted by Geoff at 9:38 PM CDT
Updated: Friday, September 16, 2016 9:41 PM CDT
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Wednesday, September 14, 2016
Kim Jee-woon's thriller The Age of Shadows played out of competition at the Venice Film Festival, and at least two reviews have mentioned Brian De Palma's The Untouchables as inspiration for a train station shootout. And after Femme Fatale, one can't help but wonder if a thriller sequence using Ravel's Bolero isn't also inspired by De Palma. Here are a couple of links, with quotes:

John Bleasdale, Cine Vue

"The murky world of betrayal and counter-betrayal is reminiscent of Jean-Pierre Melville's magnum opus Army of Shadows, but the masterful orchestration of tension also shows the influence of Brian De Palma's The Untouchables. The use of music throughout is excellent with a percussive score mixing with period pieces of jazz and a concluding scene uses Bolero to stunning effect. The Age of Shadows is a bloody and breathtaking piece of filmmaking which confirms that Kim can do pretty much anything."

Jessica Kiang, The Playlist

"Because this is an action movie and no mistake, the only difference being that where most films so described usually build to a single massive setpiece, The Age of Shadows has about seven — maybe ten, if you consider that the whole train section (and of course there’s a train section) is a setpiece that contains about three other setpieces inside itself. Each one of these sequences is delivered like the climax to a Brian de Palma movie (indeed there’s a shootout in a train station that seems to deliberately echo The Untouchables) but there’s also such knotty spy-jinks intrigue going on that at other times it plays like Betrayal on the Orient Express."

(Thanks to Rado!)

Posted by Geoff at 11:58 PM CDT
Updated: Thursday, September 15, 2016 12:07 AM CDT
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Tuesday, September 13, 2016
Just a note that today, three big items are officially released. What is widely being hailed as one of the biggest Blu-ray releases to come along in a long while, Shout! Factory's Collector's Edition Blu-ray of Brian De Palma's Raising Cain is out today, with a new master of the original theatrical version, as well as of Peet Gelderblom's Re-Cut, which is included on a bonus disc. Also included are several new interviews, as well as two video essays by Peet, and the ferociously entertaining trailer for the film.

Also released today is the Blu-ray edition of Noah Baumbach and Jake Paltrow's documentary, De Palma.

Also of note is the release today of The Oliver Stone Experience, the massive new book put together by Matt Zoller Seitz, who interviewed Stone for it extensively over the past two or three years. Also, watch for Seitz to do a segment about the book sometime this week as he fills in for The Charlie Rose show.

I'll be posting more this week about all three of these items.

Posted by Geoff at 5:38 PM CDT
Updated: Tuesday, September 13, 2016 5:47 PM CDT
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Monday, September 12, 2016

In a post about Amy Adams, Showbiz 411's Roger Friedman calls Tom Ford's Nocturnal Animals a "masterpiece" that reminds him somewhat of Brian De Palma's Body Double...
"Nocturnal Animals” though is the Big Deal. Ford, the designer of ridiculously overpriced fashion, made one other film, “A Single Man,” a few years ago. It was a gorgeous debut, and quite unexpected. “Single Man” was also incredibly stylized. One wondered if all Ford’s films — if more were to come– would look the same.

This one does, and it doesn’t. With a heavy nod to Douglas Sirk (and to Todd Haynes, who already saluted Sirk in “Far from Heaven”) Ford mixes that same cool, minimalist feel with what is essentially pulp fiction– a revenge movie starring Jake Gyllenhaal and Michael Shannon (each doing their best work) within a modern soap opera starring Adams and Armie Hammer as desperately good looking and unhappy rich people. And just so we get it, Amy’s art gallery features a black and white painting of the word REVENGE. Does Ford have to paint us a picture?

Ford is as devoted to Sirk as Brian de Palma is to Hitchock– in fact, I was thinking of “Body Double” a lot during the screening because Ford mimics dePalma’s cool veneer. Polish composer Abel Korzeniowski drives the Sirk reference home and cinematographer Seamus McGarvey manages to make the 50s come alive in 2016.

Nocturnal Animals was awarded the Silver Lion at the Venice Film Festival this past weekend. Today, Deadline's Pete Hammond posted an article about the film in which Ford discusses some of his influences:
Although Ford says you can’t compare his two worlds of fashion and moviemaking, the keen eye he has for both is quite apparent in this dazzling movie mix that seems to have all sorts of cinematic influences. It’s a very different kind of film from A Single Man, but the love of classic filmmaking is there in all departments. Movie fans will love it and reaction here in Toronto , as earlier in Venice, has been extremely strong overall. It is not just a movie-within-a-movie, it’s a movie movie suggesting work from some of the great directors in a mix that becomes pure Ford, especially in style and design.

Fortunately, his sometimes acidly funny screenplay is a substantial one as well, crossing genres. “This one is obviously very Hitchcock, Brian DePalma, people keep telling me Douglas Sirk. People keep comparing it to David Lynch too. I love David Lynch but that was certainly not in my mind. I think it’s because we have the nude (very obese) women dancing in the beginning,” he says when I asked for names that might have inspired this film. “I think Kubrick was pretty great at a thriller, but I can’t say one particular person. I have different favorite directors for different genres. My heart, which you really couldn’t tell from this, was from the 1930’s and George Cukor. That’s where it really is. If I am designing a collection it’s often Fassbinder. So depending on what type of movie we are talking about, I have absolutely different frames of reference. They go into any filmmaker’s head. They become part of your hard drive. You don’t even necessarily realize they are coming out. I wasn’t thinking about Douglas Sirk when I made this film, but I love him and the comparison is there, so great. Hitchcock’s humor was purposeful because I think if you can scare the audience you sometimes need the relief of making them laugh. And if you can make them cry, all the better. Scare them, make them cry, make them laugh, give them a roller coaster.” And that Tom Ford has done in Nocturnal Animals.

Posted by Geoff at 12:39 AM CDT
Updated: Monday, September 12, 2016 11:57 PM CDT
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