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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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« July 2017 »
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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

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The Virtuoso
of the 7th Art

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Carrie...A Fan's Site

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No Harm In Charm

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Sergio Leone
and the Infield
Fly Rule

Movie Mags

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

The Phantom Project

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the
Guillotine

FilmLand Empire

Astigmia Cinema

LOLA

Cultural Weekly

A Lonely Place

The Film Doctor

italkyoubored

Icebox Movies

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Not Just Movies

Hope Lies at
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So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

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This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds

EatSleepLiveFilm

No Time For
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The former
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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Sunday, July 23, 2017
JOHN HEARD HAS DIED
CAREER INTV w/ILLEANA DOUGLAS PODCAST LAST TUE, BACK SURGERY WED, PASSED AWAY FRIDAY


John Heard, who portrayed a Trump-like Atlantic City casino/arena owner in Brian De Palma's Snake Eyes, was found dead on Friday in a hotel room in Palo Alto. He was 71. According to Martha Ross at The Mercury News, "His family said he was staying at the undisclosed hotel while recovering from the [back] surgery, which was described as 'minor.'" Just four days earlier, on Tuesday, July 18th, Heard had been the guest on Illeana Douglas' podcast I Blame Dennis Hopper, in which Douglas asked him questions about his entire career (she ran out of time before she'd had a chance to ask him about working on Snake Eyes, which she called a great film and urged everyone to seek out, along with Martin Scorsese's After Hours). But Heard had told Douglas he was having back surgery the next day. Ross' article quotes a post Douglas made to her Facebook page after learning of his death on Friday: "He was filled with optimism and hope that he would get this back surgery and begin to start working again. That’s where he was happiest. Like any actor, he just wanted a job. He just wanted to work."

Heard was a theater actor (he originated the role who, by his own admission, never really took his work in film seriously. He is best known for the Home Alone movies, but his early film career was made up of lead roles in independent films such as John Byrum's Heart Beat (an Edward R. Pressman production in which Heard portrayed Jack Kerouac and co-starred with Sissy Spacek and Nick Nolte, with production design by Jack Fisk), Ivan Passer's Cutter's Way, Joan Micklin Silver's Head Over Heels and Between The Lines, and Paul Schrader's Cat People. He also had a significant role in Penny Marshall's Big.

An obituary by The Guardian's Ryan Gilbey includes this bit about Heard's theater days:

At the Long Wharf theatre in New Haven, Connecticut, in 1976 he originated the role of Billy, the gay soldier, in the first staging of David Rabe’s controversial play Streamers, and was disappointed not to have been retained for Mike Nichols’s subsequent New York production. He won an Obie award in 1977 for his performance in G.R. Point, in which he played a man processing dead soldiers from Vietnam before burial, and won another three years later for his combined work in Othello and Split.

Heard was married to Margo Kidder for six days in 1979. He had supporting roles in many films and TV series in the late part of his career. Ross article quotes some more from Douglas' Facebook post:
In her Facebook post, Douglas said she was devastated to hear about Heard’s death. She described him as a “great, great actor” who inspired her in her career. She said she had been trying to line him up for an interview for a long time; he was hesitant, thinking no one was that interested in him. “I convinced him that there was real interest in him. That people loved him, and wanted to hear from him,” she wrote.

This past March, Richard Luck posted a review of Snake Eyes at Right Casino, noting the similarities between Heard's role in the film and Donald Trump:
Of particular interest is the flamboyant Gilbert Powell. Played by John Heard of Cat People and Home Alone fame, Powell is very clearly the film’s equivalent of Donald Trump; The Donald being among the biggest names operating in Atlantic City around the time the movie was shot and set. Indeed, as the future president’s Historic Atlantic City Convention Center had played host to WrestleManias IV and V, so the man with the hypnotic hair had brought many a major box-office to the East Coast. Trump would also be instrumental in bringing MMA to Atlantic City, a bold move that led to UFC hefe Dana White being among the more unlikely speakers at the 2016 Republican Convention.


Posted by Geoff at 1:35 PM CDT
Updated: Sunday, July 23, 2017 11:32 PM CDT
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Friday, July 21, 2017
COSTER-WALDAU POSTS VIDEO FRIDAY MORNING
ROAD TRIP IN SPAIN, #ALMERIA, "50KM OF GREENHOUSES"


Nikolaj Coster-Waldau, star of Brian De Palma's new thriller Domino, posted a video on his Instagram page Friday morning with the caption, "A different kind of greenhouse effect. 50km of greenhouses. Feeding all of europe. #almeria #roadtripinspain". Domino had previously been scheduled to film in an area of greenhouses near Almería this weekend, but those plans had been in doubt when De Palma and company left Almería last weekend prior to a planned shoot at the airport.

UPDATE: July 23 2017
Two days after posting the video from Spain on Friday, Coster-Waldau posted a video from Luzech, France.

Posted by Geoff at 8:09 AM CDT
Updated: Sunday, July 23, 2017 1:47 PM CDT
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Thursday, July 20, 2017
ERIC KOHN ON DE PALMA'S 'SCARFACE'
"A MOVIE THAT DERIVED ITS POWER LESS FROM WHAT IT WAS ABOUT THAN HOW IT WAS ABOUT IT"
A week ago today, IndieWire posted email exchanges between Eric Kohn, Anne Thompson, and Kate Erbland, discussing whether Universal should abandon the new Scarface movie, now that David Ayer has become the latest in a long line of directors to leave the project. Kohn in particular wrote some inspired words about Brian De Palma's 1983 version:
Setting aside narrow production schedules and one director’s priorities, the biggest problem with “Scarface” is that the material never gelled with studio priorities in the first place. Howard Hawks’ 1932 original was a Hollywood gangster saga that generated controversy for its violence but was otherwise pretty straightforward; Brian De Palma’s 1983 reimagining, however, was a jolt to the system, a high style indictment of the drug lord fantasy that culminated in one of the most outrageous shootouts ever captured on film. “Say hello to my little friend” was an astonishing, subversive battle cry, both cartoonish and mortifying at once, and it crystalized the mania of power-hungry drug dealing better than any journalistic expose.

It was a breed unto itself, a movie that derived its power less from what it was about than how it was about it. So it was especially intriguing when Chile’s Pablo Larrain was attached to direct the remake three years ago. This endlessly innovative filmmaker, whose projects range from the allegorical horror movie “Tony Manero” to last year’s elegant period drama “Jackie,” clearly doesn’t compromise. His version, according to reports at the time, aimed to cast a Latino actor in a “mythic origin story” set in modern times, one that would expose the cycle of violence that brings the war on drugs from Mexico to America. Call it whatever you want — “Scarface” is just a placeholder — this is a powerful concept with the prospects of resonating on many levels at once. Of course, America’s relationship to Cuba continues to evolve in trepidatious ways that could make the original backdrop resonate with renewed topicality.

But it’s not the kind of material that a studio, eager for a blockbuster success, might want to take a risk on. (Thankfully, Larrain moved on to more original concepts.) De Palma and Al Pacino made their surreal, iconic look at a drug-fueled capitalist psychopath at a moment where it seemed as though they could get away with anything; short of Christopher Nolan and Quentin Tarantino, few American directors could pull off the same feat today within the confines of the Hollywood system. Needless to say, De Palma’s movie didn’t exactly go over perfectly when it first came out, only gaining acclaim with time; it has since been co-opted by gangsta rap, novelizations, and video games. When a movie resonates this strongly in popular culture, it doesn’t beg for a remake so much as a second visit. Here’s an idea: Pop it back in theaters and audiences might flip, as “Scarface” no less immersive and unsettling than it was over 30 years ago.

Ultimately, the best home for a gangster saga might be the medium best suited for long-form, immersive storytelling — television. “Breaking Bad” did a fine job of mapping out the process through which, in Vince Gilligan’s famous terms, “Mr. Chips becomes Scarface.” So before we argue any further about whether the studio should remake “Scarface,” it might be worth considering the possibility that somebody already beat them to it.


Posted by Geoff at 11:58 PM CDT
Updated: Thursday, July 20, 2017 11:50 PM CDT
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Wednesday, July 19, 2017
'VERTIGO' / 'BODY DOUBLE' FINALES - INSTAGRAM
POSTED BY ardavan_sh2006

Posted by Geoff at 5:53 PM CDT
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Tuesday, July 18, 2017
'DOMINO' SHOOTING PLANS CHANGED OVERNIGHT
FOR NOW, OFF TO DENMARK; 2-WEEK SHOOT IN ALMERIA CUT AFTER JUST ONE WEEK
Brian De Palma left Almería on Sunday and flew to Denmark after cutting short plans to continue filming Domino in Almería for about nine more days. According to Diario de Almería's D. Martínez, Domino shot in the Plaza de Toros and in the port of the capital, but plans to shoot at the airport were abandoned. "Although he announced last Sunday at noon, when he received the replica of the Star, that they will probably return in late August to shoot some sequences, the truth is that something has happened so that all the shooting plans have changed overnight," states Martínez. "The key to this change could be in certain disagreements between the different producers of the film," Martínez continues. "No one explains what happened, although everything could be on an economic issue and the lack of agreement between producers."

NotiCine today reports that filming of Domino "broke off abruptly on Friday, according to some sources due to the abandonment of one of the co-producers, while others argue that it was a change in the production plan, which are not necessarily contradictory reasons." Citing an article from earlier today by La Voz de Almería's Marta Rodríguez, the NotiCine article continues:
It was said that the filming would take place in three stages of the capital - the Plaza de Toros, the Port and the Airport - and in an area of greenhouses of Adra. However, in the end they have only recorded in the first two. Spanish co-producer Antonio Pérez (Maestranza Films) told the local newspaper on Saturday that it was only a change of plans and a second unit of the team will return to the city in August to finish, but Joan Franco, coordinator of extras for the film, confirmed that from day one the rumors about the cancellation of the film were continuous in the set. "The last day was a very tense environment, because everything was known to be hanging in the balance. In the end, we were informed that the project was suspended because the Belgian company that was going to contribute part of the funds had withdrawn," he told La Vox.

One of the extras who was at the Plaza de Toros last week, Beatriz Molina Puertas, took to Facebook yesterday to complain that yet another film production has left Almería, chased away by the "exorbitant price". "The filming of DOMINO has left because supposedly in addition to what was reported in the news, the airport in Almería has asked the production for a lot of money to be able to shoot in their installations and enclosure," Puertas wrote in the post. "For the exorbitant price they have decided to leave and film again at the airport in Belgium, I say supposedly, as those are the rumors that run and tell us, it is not something that I'm inventing, apart from other reasons that are making echos in all local newspaper publications !!"

Franco then commented on Puertas' post, "What a reason you have, my friend, unfortunately there are regulations by the national and local politicians, especially in the economic area that make it impossible for high-level film companies to come to work in Spain and Almería. That's how it goes with us."

Nikolaj Coster-Waldau surprised unsuspecting Game Of Thrones fans at a Copenhagen theater yesterday-- the fans had gathered to watch the HBO series' season 7 premiere.

To finish off, here is a Google-assisted translation of an excerpt from Marta Rodríguez' article from this morning at La Voz de Almería:

Initially, the shooting in Almería of this action thriller was to take place between July 10 and 24 and to be developed in four different locations: three in the capital - the Bullring, the Port and the Airport - and one in a set of greenhouses in Adra. However, in the end they only filmed in the first two and although Antonio Pérez, producer of Maestranza Films, indicated this Saturday to LA VOZ that it is only a change of plans and a second unit of the team will return to the city in August to finish, other sources say that the project has fallen when one of the producers, the Belgians of Zilvermeer, puled out.

As explained to LA VOZ, Joan Franco, coordinator of extra for the film, hired by the Seville company CNG, from the first day rumors about the cancellation of the film were continuous on the set. "On Friday the atmosphere was especially tense, a meeting was held in high places and it was known that everything hung in a thread. In the end we were informed that the project was being suspended because the Belgian company that was going to contribute part of the funds had withdrawn, "he says.

According to Franco's story, with the passing of the days the demands of the shooting of 'Domino' were coming down because it was already foreseen that something like this could happen. Thus, of the 2,000 extras that the company CNG Casting included in its database (the tests ended up dilating for eight days) because they "were necessary", they have not called more than 350. And the cuts came to the point of removing from the script scenes of some complexity as a chase," says the extras coordinator.


Those 350 extras, Rodríguez notes, "have their fees guaranteed" -- they will be paid for their five days of filming, Franco told her.

Posted by Geoff at 11:57 PM CDT
Updated: Wednesday, July 19, 2017 12:39 AM CDT
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Monday, July 17, 2017
ON BEGUILING FEMME FATALES & 'LADY MACBETH'
CHARLES TAYLOR & DAVID EDELSTEIN SPLIT ON OLDROYD'S DEBUT FEATURE
Lady Macbeth review by Charles Taylor, Newsweek (excerpt)
[William] Oldroyd and his scenarist, Alice Birch, must think they are doing something far more complex, luring the audience into cheering for Katherine but making her acts of violence more and more awful until we’re revolted by her. But to what end? By making Katherine so evil, the movie falls into the old sexist shibboleths about scheming women, particularly sex-starved ones. Pugh, who bears an amusing resemblance to Miley Cyrus, gives a spirited performance that doesn’t shy away from her character’s villainy. But the distant, intellectualized approach keeps us from feeling any complicity with Katherine. She’s funny laughing at Anna’s shock at her open adultery, but Pugh is stuck with more of a conceit than a character. The source of Birch’s screenplay, a short story by 19th-century Russian writer Nikolai Leskov, has the robust wisdom of a peasant myth. How could anyone read that story, with its lush descriptions of nature and the horrified sympathy it accords its protagonist, and come up with this joyless, colorless movie?

If there were any justice in the world of film criticism, Oldroyd would be getting the accusations of racism that—wrongly, and in ignorance of the clear meaning of their films—Sofia Coppola is getting for The Beguiled and Ana Lily Amirpour for The Bad Batch. He has made all the characters who are the least deserving targets of Katherine’s violence black. (Sebastian is biracial, and Katherine’s maid and two other prominent characters are black.) I don’t know how many black people were in Northumberland in 1865, but in this movie, race is used for the sole purpose of heightening their victimization, and it’s ugly.

At Cannes and other film festivals, Lady Macbeth was acclaimed for its daring. But for an unapologetic celebration of devious women, Out of the Past and Brian De Palma’s Femme Fatale are much tougher. As a portrait of a psychopath in the guise of dutiful wife, 1945’s Leave Her to Heaven has more punch. If an art-house film gets credit for what commercial movies have already done much better, then Katherine’s victims aren’t the only suckers here.


Lady Macbeth review by David Edelstein, Vulture (excerpt)
Oldroyd made his name as a theater director, and in his debut film he goes with his strengths. Lady Macbeth is largely confined to the plain, masculine house and its stables, and Oldroyd and cinematographer Ari Wegner show the grinding unsensuality of the place without resorting to the kind of overlong shots designed to make us literally experience her boredom.

They subtly establish a second protagonist, the maid Anna, who is even more cruelly abused by the old master (Christopher Fairbank) and later spies on Katherine and her stable-boy lover, Sebastian (Cosmo Jarvis), through a keyhole. From our modern, liberal perspective, it’s tempting to see Katherine’s revenge on the decrepit industrialist as payback for Anna’s humiliation as well as her own. When a photograph is taken of her beside the upright open coffin of the dead geezer — who has also brutally whipped the lowly Sebastian — we want to cheer.

Movies are games of moral relativism, though, and Lady Macbeth quickly turns its feminist heroine into something far more disturbing. It’s one thing for a woman to murder overpowerful white misogynists, another to shoot her husband’s horse, which whinnies in agony. And the movie’s racial overtones are thunderous. The perpetually traumatized Anna is black. A little boy who shows up midway through — Katherine’s husband’s adorable illegitimate child and ward — is of mixed race and excruciatingly vulnerable. Sebastian’s complexion is on the dark side, too, Jarvis being of Armenian extraction. When you introduce race, white feminism tends to fly out the window — as Sofia Coppola learned after a deluge of criticism for culling a black character from her remake of The Beguiled. Applause for having trained the female gaze on a demonic-female myth has quickly yielded to abuse for being a privileged white woman allegedly minimizing the horror of slavery.

Oldroyd and Birch make no such gaffes. The movie’s larger point — which I find irrefutable — is that some people who have been victimized for life are not just inclined to speak truth to power but to abuse what power they have over people with less of it. August Wilson knew that, which is why his plays resonate far beyond melodrama. So does Lady Macbeth. It eats into the mind with its vision of evil as a contagion that transforms victims into oppressors.


Posted by Geoff at 11:58 PM CDT
Updated: Tuesday, July 18, 2017 12:00 AM CDT
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Sunday, July 16, 2017
CITY OF ALMERIA HONORS DE PALMA w/STAR
BEFORE 'DOMINO' CREW FLY OFF TO COPENHAGEN; BACK IN ALMERIA LATE AUGUST


Brian De Palma and Nikolaj Coster-Waldau are getting stars on the city of Almería's Walk of Fame. Mayor Ramón Fernández-Pacheco and the President of the Provincial Council, Gabriel Amat, had planned to visit De Palma and Coster-Waldau at the end of filming in the bullring this upcoming Tuesday (July 18th), but filming was completed there ahead of schedule this week. By Sunday, Coster-Waldau had already headed to London. Before De Palma headed to Copenhagen for the next leg of the Domino shoot, however, he was presented at the hotel with a miniature reproduction of the star, with his name, that will be placed on the Walk of Fame. Coster-Waldau will be presented with his star when the production returns to Almería around the end of August, coinciding with the time of the fair that runs from August 18-26.

Councilor of Promotion for the city, Carolina Lafita, and of the Councilor of Development, Commerce and Beaches, Carlos Sánchez, presented the star to De Palma. "Almeria is a wonderful city, with excellent architecture and with very good locations," said De Palma in response, according to Almería 360. "The crew had an incredible experience. The food is excellent and working with the city has been very pleasant. The choice of locations has been a success thanks to the support of the citizens, who have facilitated filming."


See also:
Brian De Palma, honored in Almería
Brian De Palma and Nikolaj Coster-Waldau will star in the Walk of Fame in Almería

Posted by Geoff at 11:25 PM CDT
Updated: Sunday, July 16, 2017 11:31 PM CDT
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Saturday, July 15, 2017
NOVILLERO DESCRIBES FILMING ON 'DOMINO'
APPRENTICE MATADOR SERGIO ROLDAN: "IT'S BEEN 3 HOURS OF INTENSE SHOOTING"
La Voz de Almería's Juan Antonio Barrios posted an article the other day about Sergio Roldán's experience filming a scene for Domino during one of the past week's night shoots in the bullring:
The novillero (apprentice matador) from Almería Sergio Roldán has lived a new experience with his participation in the film 'Domino', directed by Brian De Palma. On this occasion, the shooting has taken place in the Plaza de Toros de Almería and in full bullfighting festivities.

"It has been a new and great experience that I have lived participating in the film 'Domino', with a director of the stature of Brian De Palma and great actors," the Almerian novillero tells the VOZ.

At seven in the evening began the filming of the sequence where Sergio Roldán fights 'a bull' with a muleta. "Before the start of the shooting I was very nervous because I did not know what was going to happen. The moment I was told, I was calm. It has been three intense hours that we have been slowly shooting this sequence in the Plaza de Toros," recalls the Almerian novillero.

The tendido and grada of tier 8 is where the whole scene develops. Close to that stretch is where Sergio Roldán made his elegant and beautiful "bull" passes, with his suit of lights, while the public watched all the action developing, with stampedes of about 200 extras that participate in the scene.

"We have had to repeat the scene several times. It's been three hours of intense shooting. On arrival at the arena and before starting the shoot, director Brian De Palma greeted us. I also got to meet and talk with the actor who plays the role of terrorist (Ibrahim Goush), as well as the police who are after him. On this occasion, the actor told me that in America he works with horses and bulls. In the Plaza de Toros we were up until five thirty in the morning, after checking that everything had gone well," concludes Sergio Roldán, after remembering that it was the master Ruiz Manuel who called him and proposed his participation as a bullfighter in 'Domino'.


Posted by Geoff at 2:49 PM CDT
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Thursday, July 13, 2017
DRONES, STAMPEDES, GUNSHOTS, & MANY 'OLES'
AS 'DOMINO' FILMS AT LA PLAZA DE TOROS IN ALMERIA


A couple of articles from Almería this morning, with the help of Google translation:

Marta Rodríguez, La Voz de Almería

Days of ten or eleven hours. More than 200 extras. A technical team formed by about 40 people under Brian De Palma (including José Luis Alcaine, Almodóvar's cinematographer with five Goya awards). A scene filmed with drones, stampedes, gunshots and many 'oles'. Welcome to the shoot of 'Domino', in the Plaza de Toros de Almería.

These are the brushstrokes of the day-to-day shooting of this European production action thriller, which began filming on Monday in the Vilches avenue, where the actors are taking part: Nikolaj Coster-Waldau and Carice van Houten, cast partners in 'Game of Thrones' series in which they play Jaime Lannister and the witch Melisandre.

According to LA VOZ, one of the most important scenes of the film, a terrorist attack, with many special effects, occurred during a Bullfight celebration with tickets and runners out of public.

What direct witnesses tell of the shooting would not squeak about the plot of 'Domino', which will tell the story of a Copenhagen policeman who, with the help of another colleague, will follow in the footsteps of a man of Arab origin (who is played by Ibrahim Goush) responsible for murdering his partner. According to The Hollywood Reporter, this persecution, which will also involve the CIA, will take the protagonists from northern Europe to "sun-drenched landscapes of Spain." Petter Skavlan, writer of the screenplay of the film 'Kon-Tiki', is the person in charge of the script.

The team deals daily with the complications of having to coordinate so many extras, who have to repeat over and over again the plans of that scene of action in which a stampede takes place.

The production - in which the name of Tate Aráez stands out as head of locations (a great connoisseur of the province after touring with the team of 'Game of Thrones') - has required the participation of Almerian bullfighters Ruiz Manuel and El César, who along with Alberto Cámara, the will interpret the roll of proxies. The matador Sergio Roldán will also have a small role.

The Port and the Airport could be other of the chosen locations for this film that has placed De Palma back behind a camera five years after 'Passion'.


D. Martínez, Diario de Almería

"It is impressive to see Brian de Palma crossing the bullring of the Plaza de Toros de Almería". That is the affirmation of a woman who participates as an extra in the film Domino that the American director rolls these days in the Bullring of Almería...

These days, Brian De Palma makes his normal life during the day, and at night he is shooting in the Plaza de Toros. They are marathon sessions, where everything is supervised by the director of the film, and where the scenes are repeated and repeated. De Palma is a demanding director and he likes to do things well, so until he has the shot he carries in his mind, he will not stop.

During the nights until the wee hours of the morning some 300 extras have occupied the 8th slope of the Coso of the Avenida de Vilches. A bullfight takes place, although there is an event that mars the celebration. A terrorist posing as a soda seller kills a person from the public. The figuration chosen for this sequence has appeared these days dressed as if they were to enjoy a bullfight.

The film, a thriller starring Carice Van Houten and Nikolaj Coster-Waldau, has already begun in Antwerp (Belgium) and is a European co-production involving the French company Backup, the Spanish production company Maestranza, the Danish studios Schonne Film, and the Belgian producers of Zilvermeer...

After the bullring, filming will continue at the port and airport of Almeria and there will be scenes to be shot in Adra.



Posted by Geoff at 11:37 PM CDT
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Wednesday, July 12, 2017
AYER NOW DROPS OUT OF 'SCARFACE'
IT'S STILL A MOVIE WITH A RELEASE DATE 1ST, DIRECTOR 2ND OR 3RD, 4TH MAYBE


It was announced today that David Ayer has exited the Scarface remake, with Variety and its sister publication Deadline both stating that insiders indicate that Ayer bailed because the tight schedule was not to his liking (didn't have time to make the quality feature he was hoping to). The Hollywood Reporter's sources, meanwhile, indicate that Ayer's take on the script was "too dark." Twitter is having a great time with that one (see image above).

The Scarface remake has a screenplay now said to be by Jon Herman and the Coen brothers. Deadline's Mike Fleming Jr asks, "Why Not Go Back To Antoine Fuqua?" But we all know the question he should be asking: Why not go back to Pablo Larraín?

Previously:

David Ayer in talks for Scarface remake
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 7:17 PM CDT
Updated: Thursday, May 14, 2020 7:41 PM CDT
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