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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
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De Palma discusses
The Black Dahlia 2006


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italkyoubored

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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.
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Ambrose Chapel
Are Snakes Necessary?
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Laurent Bouzereau
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Friday, May 26, 2017
JARED MARTIN DIES
CLOSE FRIEND OF DE PALMA'S, STAR OF 'MURDER A LA MOD', APPEARED IN 'WOTON'S WAKE', MORE


Jared Martin, who was Brian De Palma's college roommate and longtime close friend, passed away Wednesday at his home in Philadelphia. He was 75. His son, Christian Martin, told the Hollywood Reporter that his father died of pancreatic cancer.

Martin met De Palma and William Finley at Columbia University in 1960, when the three of them participated in the Columbia Players' annual varsity show. Martin had a bit part, while Finley had the lead in A Little Bit Different. Martin told Justin Humphreys, author of Interviews Too Shocking To Print!, that De Palma was acting at that time, but not really "an actor"-- "he was one of the producers-- he was around." Martin and De Palma became roommates, and when Martin returned from a summer break, De Palma and Finley had also become close friends. While Finley still lived at home, the three of them hung out together often, with De Palma "always the centerpiece," according to Martin.

De Palma and Martin would spend most of their time, however, at Sarah Lawrence College, where, along with Finley, they appeared in Wilford Leach's production of Jean Giraudoux's Ondine. According to Humphreys, "Finley played an old man, Martin played the lead, a knight, and De Palma played various roles. De Palma's then-girlfriend, Kristina Callahan, played Ondine. Finley, as usual, also designed some of the sets." The show was a "major success," states Humphreys, and they followed it up over the next year with two more: The Italian Straw Hat, and A Soldier's Tale.

Of course, when De Palma began making films, Martin and Finley were usually involved. De Palma has said that Martin appeared in several of his short films, including Woton's Wake (1962). In that film, Martin appears holding a candelabra "and leading the procession in this mock Dolce Vita scene"...

Martin also appears in Woton near the climax, wearing a helmet and peering up at Finley's Woton, mock-King Kong:

In 1963, De Palma and Finley were groomsmen at Martin's wedding, and that event was the basis for The Wedding Party (1964-65), De Palma's first feature (officially "A Film by" Brian De Palma, Cynthia Munroe, who put up the money, and Wilford Leach). Martin plays one of the wedding guests in that film, but he would go on to star as an independent film director in De Palma's Murder a la Mod (1967).

In 2016, Martin co-directed The Congressman with Bob Mrazek. "Bob is producer, co-director, fund raiser, post-production supervisor and chief cook and bottle washer," Martin told Portland Monthly. "The production company that made the film was created by him, just as the actual story has parallels in his life. As a former five-term representative from Long Island, he knew the practical and emotional core of the main character, Charlie Winship. The moods and pulls, the waiting in airports, the strain on normal relationships, the devastating effect on more intimate relationships. He experienced the emotional triage that comes with ignoring something important in order to pursue something essential. The Congressman was basically his story and could not have been written by anyone else.

When asked if De Palma had seen the film, Martin said, "We matriculated at Columbia but spent more time at Sarah Lawrence in Bronxville which had a fully outfitted film and theater department plus female actors hard to come by at Columbia. We made a series of short films. He directed, I acted. My directing came later. We worked with primitive equipment like a crank reel Bolex with a 100-foot magazine and reflector boards. From the start Brian gathered special talent around him such as Bob DeNiro, Jill Clayburgh and William Finley. Brian saw and liked The Congressman, thought it was well filmed and solidly acted. At that time we were getting a lot of over-the-top advice from folks in Hollywood who wanted to see more explosions and love scenes. Brian advised us to believe in what we’d done, cautioning us that everyone in the business wants to load you down with ideas that never seemed to work for them when they made their films. Words like this from a famous director helped steady the ship at an important time in post-production."


Posted by Geoff at 8:23 AM CDT
Updated: Friday, May 26, 2017 7:22 PM CDT
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Wednesday, May 24, 2017
CANNES REVIEWS - BRIEF DE PALMA MENTIONS
'THE KILLING OF A SACRED DEER' AND 'WIND RIVER'
The Guardian's Peter Bradshaw on Yorgos Lanthimos' The Killing Of A Sacred Deer

"As in all his best work, Lanthimos is brilliant at summoning up a whole created world and immersing us in it. But its weirdness has a double meaning: it has a stylised element of absurdism and it is also a plausible expression of denial. It is intriguing to imagine John Carpenter or Brian De Palma or Richard Donner directing this script. Perhaps it would not look so very different, although De Palma or Carpenter might want the ending to be accelerated, or even rewritten to accommodate the twist that appeared to be promised by the protagonist’s interesting theory that the surgeon is never to blame for a failed operation, and that it is always the anaesthetist’s fault. What Lanthimos does is lead us into his own kind of eerie forest clearing in which this deer is to be horribly slain."

Flickering Myth's Sara Hemrajani on Taylor Sheridan's Wind River

"Wind River marks Sheridan’s first time behind the camera for a major feature – and it’s a confident debut. The Sicario and Hell or High Water scribe clearly understands what it takes to produce a muscular, gripping thriller. The story is raw, upsetting and socially astute. Sheridan offers a glimpse into the fringes of the American West, where ordinary people struggle to live among their barren surroundings, and where the Native American population is often plagued with crime, drug abuse, unemployment and discrimination. Any online searches on the Wind River reservation reveals a plethora of gloomy news articles and reports...

...If Sheridan continues with films of this calibre, he could certainly grow into the next Brian De Palma or Denis Villeneuve. A talent to watch."


Posted by Geoff at 3:32 AM CDT
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Sunday, May 21, 2017
VIDEO - PFEIFFER ON HOW SHE GOT ELVIRA ROLE
"BRIAN WAS ROOTING FOR ME" - PACINO NOT CONVINCED UNTIL SHE LET GO OF HER FEARS, MADE HIM BLEED

Michelle Pfeiffer visited Jimmy Fallon on NBC's The Tonight Show on Thursday, May 11th. Pfeiffer described how she eventually won the role of Elvira in Scarface, after Fallon asked her if Al Pacino "was intense" during the making of the film:
Michelle Pfeiffer: Well, he was probably more intense back then, or at least, I think it was maybe the nature of the project. And he didn’t particularly want me for the part.

Jimmy Fallon: He didn’t?

MP: No.

JF: Really?

MP: Look, my last credit before that was Grease 2—can you blame him?

JF: Well, no—Scarface could’ve been a fun musical, who knows? We’ll see, it’s going to be on Broadway once and we’ll be laughing. We’ll look back on this and laugh—yes, Scarface: The Musical.

MP: Yeah…

JF: (dancing and singing) Say hello to my little friend! Say hello to my little friend.

MP: You know (pointing at Jimmy), that could happen…

JF: That’s what I’m saying. It could… Okay, so you go into the audition, and he doesn’t want you for that… he’s like, “No…”

MP: Well, it was really, it was a very long, drawn-out auditioning process, and there were a number of women auditioning, and it went over a period of about, I don’t know, it seemed like forever, but I think it was about two or three months…

JF: Wow—just auditioning…

MP: And I was terrified. And I was really young. And I knew he didn’t want me. And as it went on, the worse I got, because I just got so afraid. And by the end of it, Brian De Palma was very sweet, and he was really rooting for me, Brian, and he said, ‘I’m sorry, but you’re just bad now. [Laughter] What’s going on?’ And you know, it was true, and I was like, ‘I know, I know, I’m just so up in knots.’ And [he says] ‘It’s not gonna work out babe.’ ‘Right.’ So I went away, and then about a month later, they called and they said, ‘They wanted to screen test you,’ and I’m like [gasp, drops shoulders as in oh, ugh, no]. Because part of me was just relieved to have the torture end.

JF: Heh heh he, and move on with your life!

MP: And when they called, I just said, [eyeroll] ‘No’. So, anyway, I show up, and I kind of drag myself—and I have, you know, no feeling at all that I have any shot at getting this, so… So it kind of freed me up, you know, and so I wasn’t afraid. And I just sort of, I show up, and do this scene, the restaurant scene at the end, where I kind of freak out at the end, and…

JF: …trash the place

MP: [getting animated] I threw dishes, and everything went flying, and broke things…Cut! I was IN IT! And there was blood everywhere.

JF: What!?! [Laughter]

MP: And everyone comes running over to me, checking me out for blood, where am I cut, they’re not finding anything, there are no cuts on me… I look over and Al is bleeding.

JF: Oh, no, ohhh, my gosh! [Laughter] You cut Al Pacino?!?

MP: [Nodding] I cut Al Pacino! And I…

JF: [Mimicking Tony Montana] I cannot believe you threw this dish! Broke a dish… (I can’t do Al Pacino)… [more laughter]

MP: Oh my God, I cut Al Pacino!

JF: No way, oh my God! And that’s how you got the…

MP: [Regains composure with glimmering triumph] And that’s how I got the part.

[Applause, to which Michelle Pfeiffer takes a bow]


Posted by Geoff at 10:17 PM CDT
Updated: Sunday, May 21, 2017 10:21 PM CDT
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Saturday, May 20, 2017
DAVID AYER IN TALKS FOR 'SCARFACE' REMAKE
WOULD DIRECT COEN BROS. SCREENPLAY STARRING DIEGO LUNA, RELEASE SET FOR AUG 10 2018
Deadline's Mike Fleming Jr reported yesterday that David Ayer "is in early negotiations to direct" the Scarface remake for Universal. Diego Luna is still attached to star, from a screenplay most recently rewritten by Joel and Ethan Coen.

Ayer is currently finishing up post-production work on Bright, a Will Smith vehicle for Netflix. Ayer and Smith had previously collaborated on Suicide Squad. Ayer wrote the 2001 film, Training Day, which was directed by Antoine Fuqua, who at one time had been attached to direct this remake of Scarface prior to the Coen Brothers' involvement.

Previously:

Coen Brothers will rewrite Scarface script
Fuqua drops out of Scarface remake; Diego Luna will play lead
Terence Winter to tackle Scarface script
The Scarface remake just got a lot less interesting
Scarface remake is Larraín's dream project
The Scarface remake just got a lot more interesting


Posted by Geoff at 3:28 PM CDT
Updated: Saturday, May 20, 2017 3:37 PM CDT
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Wednesday, May 17, 2017
LONGER PLOT DESCRIPTION FOR 'DOMINO'
FROM IM GLOBAL AS CANNES MARKET OPENS
IM Global has a large slate of films to present to buyers at the Cannes market, including Domino. ComingSoon.net posted IM Global's publicity descriptions for each film. Here's the one for Domino:
Directed by Brian De Palma (Mission: Impossible, Scarface, The Untouchables), DOMINO stars Nicolaj Coster-Waldau (Game of Thrones, Oblivion, The Other Woman) and six time Emmy® award nominee Christina Hendricks (Drive, The Neon Demon, Mad Men), is written by Petter Skavlan (Kon-Tiki, Sophie’s World) and produced by Peter Garde and Michel Schønnemann.

In this fast-paced thriller, legendary director Brian De Palma weaves a multi-national tale about Christian (Coster-Waldau), a Copenhagen police officer seeking justice for his partner’s murder by a mysterious man called Imran. In a world wracked by terror and suspicion, Christian and Alex (Hendricks), a fellow cop and his late partner’s mistress, embark on a mission to hunt Imran down, but are unwittingly caught in a cat and mouse chase with a duplicitous CIA agent who is using Imran as a pawn to trap ISIS members. Soon Christian and Alex are racing against the clock – not only seeking revenge, but to save their own lives. From the frosty cities of Scandinavia to the sun-drenched landscapes of Spain, De Palma sets up a spectacular battle of multiple opposing forces and leaves the audience breathless until the climactic moment when we learn who will be the last person to survive.


Posted by Geoff at 11:58 PM CDT
Updated: Thursday, May 18, 2017 12:09 AM CDT
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Tuesday, May 16, 2017
LEVINSON TAKES ON PATERNO AT HBO w/PACINO
DE PALMA HAD WALKED AWAY FROM PROJECT AFTER TOO MANY SCRIPT MEETINGS WITH HBO
"I find that television executives are very intrusive," Brian De Palma told Variety's Nick Vivarelli at the Venice Film Festival in September, 2015. "I’ve never had so many meetings with so many notes about a script than the one I developed for Al Pacino [about the fall of Penn State head football coach Joe Paterno] that HBO wanted to influence in a way that made it unworkable. I got to a point where I said: ‘guys, I’m done.'"

One year earlier, in September of 2014, HBO suspended pre-production on Happy Valley "for a moment to deal with budget issues," the network said at the time in a statement to Deadline, adding, "but the project is still intact at HBO with the entire creative team as before." Deadline then cited other unnamed sources to say that "the suspension would also be used for additional script work." Sounds like all that script work irked De Palma the wrong way, and he eventually walked away.

This morning, Showbiz 411's Roger Friedman reported that Barry Levinson will now direct Pacino in an untitled movie "about Joe Paterno and the Sandusky scandals at Penn State." Levinson and Pacino had previously collaborated on HBO's Jack Kervorkian biopic You Don't Know Jack in 2010. Levinson has a current vibe with HBO-- his Bernie Madoff biopic, The Wizard Of Lies, starring Robert De Niro and Michelle Pfeiffer, premieres on the network this weekend. In 2013, Pacino made another biopic for HBO, with David Mamet directing him in Phil Spector.


Posted by Geoff at 11:59 PM CDT
Updated: Sunday, May 21, 2017 2:40 PM CDT
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Wednesday, May 10, 2017
SAKAMOTO TO INTRODUCE 'FEMME FATALE' MAY 14
PART OF SAKAMOTO FILM SERIES THIS WEEKEND AT THE QUAD IN NEW YORK


Ryuichi Sakamoto will introduce a 35mm screening of Brian De Palma's Femme Fatale Sunday, May 14, 7pm at the Quad in New York. The screening is part of a four-day series this weekend: "Forbidden Colours: Ryuichi Sakamoto at the Movies". Femme Fatale will screen again Monday, May 15, at 9:15pm.

"Multitalented Japanese electronic music superstar Ryuichi Sakamoto crossed over into movies as both actor and composer in Nagisa Oshima’s Merry Christmas Mr. Lawrence in 1982," reads the Quad website series description. "Since then he has provided over 40 features and documentaries with his unique sound. On the occasion of async, his first album in eight years, which he has described as 'a soundtrack for an Andrei Tarkovsky film that does not exist,' we present eight of the best."

The site's Femme Fatale description reads: "Sakamoto’s reshaped version of Ravel’s 'Bolero' accompanies the virtuoso Cannes Film Festival-set jewel-heist setpiece that sets in motion a dreamy, sinuously crafted thriller that’s filled with surface pleasures and meta-cinematic tricks. Rebecca Romijn plays the titular thief, whose attempts to start a new life in Paris are complicated when she crosses paths with photographer Antonio Banderas."

Bilge Ebiri at The Village Voice posted a preview of the series yesterday:

When The Revenant got twelve Oscar nominations a couple of years ago, I was struck by the fact that Alejandro González Iñárritu's film wasn't nominated for best score, the one category it deserved to win. The mournful, ethereal music of Ryuichi Sakamoto was everything Iñárritu's overbaked pseudo-western wasn't — understated, evocative, and ultimately rousing.

The Revenant isn't screening in the Quad Cinema's short tribute to the Japanese composer, but some of Sakamoto's greatest work is. A classically trained pianist and ethnomusicologist, he had already achieved international fame as a member of the pioneering Japanese synthpop trio Yellow Magic Orchestra when director Nagisa Oshima hired him to star in and score the 1983 P.O.W. drama Merry Christmas, Mr. Lawrence. His music for the film is at times playful, even bordering on pop — particularly in the catchy main theme — and at times discombobulating, almost atonal. The seesawing mood makes an ideal match for Oshima's heated, surreal tale of obsession and torment.

Scoring diverse films, Sakamoto has revealed himself as surprisingly good at pastiche: His music for Pedro Almodóvar's High Heels (1991) is the noirest noir that ever noired. His traipsing boleros and Vertigo homages in Brian De Palma's Femme Fatale (2002) are unforgettable. (Also included in this retro is a rare 35mm screening of Volker Schlöndorff's 1990 The Handmaid's Tale, a first go at adapting Margaret Atwood's seminal novel.)

But I'd argue that Sakamoto's best work came in collaboration with Bernardo Bertolucci. An opera fanatic, the director often had lush, unabashedly melodramatic scores in his earlier pictures (think back to Georges Delerue's rhapsodic melodies for The Conformist, Ennio Morricone's sweeping marches for 1900, or Gato Barbieri's crashing jazz crescendos in Last Tango in Paris). He clearly connected with Sakamoto's ability to mix the lyrical and the ethereal, to nestle brisk compositions within stretches of melancholy ambience.


Posted by Geoff at 4:20 AM CDT
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Sunday, May 7, 2017
TWEET - MCWEENY REACTS TO DOMINO NEWS

Posted by Geoff at 3:23 PM CDT
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Saturday, May 6, 2017
DONAGGIO'S DTK SHOWER THEME ON REFN ALBUM
COMPILES MUSIC REFN LISTENED TO WHILE WRITING & FILMING 'THE NEON DEMON'


Last month, Nicolas Winding Refn released The Wicked Die Young on CD and vinyl. A compilation of music he listened to while writing and filming The Neon Demon, it includes Pino Donaggio's Shower Theme from Brian De Palma's Dressed To Kill. "The fourteen tracks on this compilation represent the various ideas I had while preparing The Neon Demon and each song represents a specific emotion," Refn states in promotional materials for the collection. "Some of the tracks are from the past and some the present including new material by Cliff Martinez, Julian Winding, and Electric Youth. Since I wanted my film to be both a horror film and a melodrama with camp, glitter, and vulgarity, as well as a comedy and of course a little science fiction, all these various tracks made me able to step into a parallel world to tell the story."

Refn acknowledged two other De Palma/Donaggio collaborations last summer when Carrie and Body Double screened at Picturehouse cinemas in the U.K. as part of a series titled "Nicolas Winding Refn Presents…" Each film was promoted with Nicolas Winding Refn's verdict: "a visual feast" (Carrie), and, "They should make more movies like this nowadays" (Body Double).


Posted by Geoff at 10:49 PM CDT
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Thursday, May 4, 2017
RAPACE CONTRASTS DE PALMA / RIDLEY SCOTT
SAYS DE PALMA KNOWS EXACTLY WHAT HE WANTS - "HONEY, I'M EDITING IN MY HEAD ALREADY"
Noomi Rapace is the subject of yesterday's "Early Works" column at VICE. Here's the last paragraph, as she told it to Larry Fitzmaurice:
I went right into Prometheus after Sherlock Holmes, and then I worked with Brian De Palma on Passion. Ridley and Brian are filmmakers from the same generation, and obviously I grew up watching Brian's work—Scarface, Carlito's Way. When I heard that he wanted to meet with me, I was quite shocked. It was interesting to work with him, because he knew exactly what he wanted. He did very long takes, sometimes for four minutes. When he had three takes, he was like, "I'm happy. I'm good. We're moving on." Very different from Ridley's films and what I was used to. I was like, "Whoa, wait! We're not doing coverage?" But he was like, "Honey, I'm editing in my head already. No need for that. We're moving on." He's someone who knows exactly what he wants. It was very different and interesting working with him.

Posted by Geoff at 3:03 AM CDT
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