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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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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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Monday, July 31, 2017
VAN HOUTEN ON WORKING WITH DE PALMA
"HE'S A YOUNG GUY IN THE BODY OF A MAN WITH SO MUCH EXPERIENCE"


Yesterday, ELLE's Nojan Aminosharei posted an interview article with Carice van Houten, having recently met up with the actress at a hotel in Amsterdam, where she lives. Most of the article is about Game Of Thrones, but the article ends with two paragraphs focused on Domino:
These days, van Houten has been zig-zagging through Europe—baby in tow this time—to film Brian De Palma's Domino alongside Nikolaj Coster-Waldau. "It felt like a huge step to work again after having my baby," she says. "But I thought, there's no way I could say no to Brian De Palma"—the visionary director whose diverse filmography includes Carrie, Scarface, The Untouchables, and the first Mission: Impossible. "He's a young guy in the body of a man with so much experience," says van Houten. "He can be quite blunt, and he's not afraid to swear, which I find nice because then at least I don't have to hold back either."

Van Houten and Coster-Waldau play two cops whose investigation into their fellow officer's murder leads them down a rabbit hole populated by CIA agents, ISIS cells, and an international terror plot. Despite the thriller's thoroughly modern and reality-rooted themes, all roads still lead back to Westeros. "It's funny, even I sometimes think, 'Look at me, I'm sitting in a car, having a scene with Jaime Lannister!'" says van Houten. And yes, even they pore over Game of Thrones theories in their off time. "I was talking to Nikolaj the other day about it," she says. "We were sitting in the Green Room, and I said, 'What do you think will happen?' He said, 'I have no fucking clue!'"


Meanwhile, EMPIRE's James White spoke by telephone today with van Houten, who is now in Copenhagen. White also asked her about Domino:
You're working on Brian De Palma's Domino with Nikolaj (Coster-Waldau), and had you worked with him before?

No! That was the same thing, it was so strange to have a scene in the car, for people to see us together in regular clothes, with contemporary dialogue. Look at me, with Jaime Lannister! He's so cool!

And he has two hands, which is probably a surprise...

And I don't have red hair!

Has it been good interacting with him?

We'd met in the hallways of hotels and premieres, but not really. It's nice anyway to be around other Europeans! And him being Danish, I've always been fascinated by the Scandinavian language and now I'm in Copenhagen and f*g loving it. It's great to work with the Danes around here... Apart from Mr. De Palma!

How is it working with Brian De Palma?

It's great to work with someone at his age with his kind of spirit. I feel very lucky to be in that role.


Posted by Geoff at 11:54 PM CDT
Updated: Tuesday, August 1, 2017 12:17 AM CDT
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BOUZAN HADAWI RADIO INTERVIEW - 'DOMINO'
SPANISH-LANGUAGE STATION IN MADRID


Bouzan Hadawi, who has a role in Brian De Palma's Domino, was interviewed by Isabel Lobo for the COPE radio chain in Madrid. Lobo's tweet above reads, "7 months ago, Bou told me his story. He fled Syria. And from the war to Hollywood. Today he works for Brian De Palma." The 10-minute interview can be listened to here. If anyone speaks Spanish and would like to tell us what Hadawi says in the interview, please let us know in the comments!

Posted by Geoff at 2:22 AM CDT
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Saturday, July 29, 2017
SELENA GOMEZ HAS 'FETISH' FOR DE PALMA FILMS
"THE WAY HE SHOOTS WOMEN IS SO SEXY" - MELANIE GRIFFITH/'BODY DOUBLE'PICS HANG IN HER NEW HOUSE
The other day, Dazed posted a discussion between Selena Gomez and photographer Petra Collins, the latter described by Alex Kazemi as "Gomez's collaborator and BFF." It turns out they both love Brian De Palma films:
Petra Collins: Do you like Fiona Apple? I remember seeing the ‘Criminal’ video – seeing someone displaying themselves so honestly and showing to us that she was sick, it scared me. She turned the ‘heroin chic’ thing on everyone by saying, ‘This is how I am, this is real.’

Selena Gomez: I love Fiona, and that video. My mom introduced me to her. I’ve been listening to her since my childhood. She was doing something very raw for her time. She is an icon, what she does creatively is on another level.

Petra Collins: What is your current obsession or ‘fetish’?

Selena Gomez: Right now, I have a fetish for Brian De Palma films. The way he shoots women is so sexy. I’m printing out pictures to hang up in my new house right now. Melanie Griffith in Body Double. So sexy.

Petra Collins: Oh my God. Brian De Palma. I love him. I’m with you on that one, that’s my fetish right now too.


Posted by Geoff at 6:34 PM CDT
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Friday, July 28, 2017
'DIONYSUS IN 17' AT BREAD & WATER IN NEW YORK
IMMERSIVE, INTIMATE STAGING INFORMED BY EXPERIMENTAL 'DIONYSUS IN '69', CHANNELS TRUMP


Bread & Water Theatre in Rochester, New York, is producing a modern take on The Performance Group's Dionysus In '69, called Dionysus In '17, continuing through August 6th. The theatre's website description reads: "In 1969 [actually, it was 1968], the Performance Group took to the stage and performed their seminal production based on Euripides' classic play The Bacchae. Called Dionysus in 69 this production captured a moment in time and made a classic play relevant to a world in turmoil. In 2017, Bread & Water Theatre will be producing a unique adaptation of The Bacchae as a mirror to our turbulent times."

Rochester City Newspaper's Daniel J. Kushner reviewed last Friday's performance:

Perhaps the less you know going into a performance of Bread and Water Theatre's "Dionysus in '17," the better. Written and staged by the company's artistic director, J.R. Teeter, it should at least be said that the performance art-driven play is a modern update of "The Bacchae," by the Greek tragedian Euripides, filtered through The Performance Group's important, experimental production "Dionysus in '69." Director Brian De Palma also filmed that production for a 1970 movie.

Beyond that, however, prior knowledge of Euripides's plot details or the erotically charged 1969 version may prove to be a distraction from the immersive world to which Teeter and company beckon you.

In Bread and Water Theatre's intimate black box space, the likelihood of interacting with the cast is high. A bacchant, or worshipper of Dionysus, may warn you of the god's impending arrival before inviting you to honor him by joining the ritualistic dance. Or you may be seduced into worship by Dionysus himself.

But just who is this particular Dionysus? From the outset, the line between abstracted, classical Greek myth and real-life, flesh-and-blood Andreas Gabriel Woerner -- the actor playing the chaos-causing Dionysus -- was intentionally unclear. According to Woerner, he discovered he was the god incarnate when an obese man told him so while traveling on the airplane that brought him to America.

While telling this fascinatingly dubious origin story, the Woerner settled into the role of Dionysus with smoldering intensity and vain swagger. Woerner stalked around the theater with the dangerous charisma of a cult leader. Promising freedom, his Dionysus was fittingly fickle, demanding, and hot-headed.

Fully committed, the spirited ensemble cast responded with free-flowing sensuality and latent violence, as evidenced by the tragic end of Pentheus (played by Xavier Hucks), who acted in defiance of Dionysus. As Agave, Pentheus's mother, Nicole Iaquinto gave one of the more impressive performances in the play, communicating with earnest passion the unbridled agony and desperation that are at the heart of Euripides's original tragedy.

In a somewhat disjointed turn toward the end of the play, Teeter ripped the action from safe, distant confines and transplanted them into our frightening contemporary American political landscape. Woerner suddenly began to appropriate the language of our current president, becoming increasingly unhinged as he accused audience members of worshipping him insufficiently -- a lack of loyalty, if you will -- encouraged his followers to punch people in the face, spat out venomous charges of "loser" and "crooked Agave," and talked of pussy-grabbing.

This channeling of Donald Trump was much more overt than William Finley's original evocation of Richard Nixon in 1969. But in 2017, the parallels between Trump and Dionysus are decidedly more striking -- both figures inspire a kind of blind, crazed fealty in his supporters, while promising a paradigm shift that, in some cases, enable bizarre and unstable behavior. An odd comparison, for sure, but it worked.

"Dionysus in '17" follows the swiftly paced structural framework, fundamental plot devices, and avant-garde affectations of "Dionysus in '69," but with updated language (read: plenty of f-bombs) and comparatively tamer sexual elements. This is absolutely not a play meant for children, but it may be an excellent way to start a conversation with your mature-minded teenagers about the intersections of art, politics, and sex. Teeter and his band of actors have created a highly engaging, no-frills production that succeeds in saying something the 1969 version could not.


Posted by Geoff at 3:48 AM CDT
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Thursday, July 27, 2017
'DOMINO' LOCATION SCOUTING IN COPENHAGEN
INSTAGRAM PICS FROM 2ND UNIT



Posted by Geoff at 11:45 PM CDT
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Wednesday, July 26, 2017
PODCAST - 'AMERICAN FRIGHT' DE PALMA EPISODE
DISCUSSES SISTERS / PHANTOM / CARRIE / OBSESSION / THE FURY

Posted by Geoff at 7:36 AM CDT
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Tuesday, July 25, 2017
ALCAINE TO RECEIVE LOCARNO VISION AWARD
AUG 10 TRIBUTE INCLUDES SCREENING OF 'PASSION', FILMS BY ALMODOVAR, MASTER CLASS AUG 11
José Luis Alcaine will be honored at the 70th Locarno Festival next month, where he will be presented the Vision Award TicinoModa in Piazza Grande. The prize is "dedicated to those who have used their talents to trace new perspectives in the world of film," according to the Locarno website. The tribute will include a screening of Alcaine's first collaboration with Brian De Palma, Passion. Here is the rest of the Locarno news item:
José Luis Alcaine, noted for his strong colors and photography that highlights shade and form while remaining always believable, even at extremely high contrast, has worked with some of the most important and influential auteurs in Spanish and international filmmaking. Among many: Pedro Almodóvar, Victor Erice, Montxo Armendáriz, Basilio Martìn Patino e Fernando Fernan Gomez. Further fundamental collaborations in his career were those with Vicente Aranda, with whom he made a dozen films, including Amantes (1991), and, again in Spain, with Fernando Trueba (El sueño del mono loco, 1989 and Belle Epoque, 1992), with Carlos Saura (¡Ay, Carmela!, 1990 and Sevillanas, 1992) and Bigas Luna (Jamón Jamón, 1992, Huevos de oro, 1993 and La teta y la luna, 1994). Outside Spain, apart from his various forays in the U.S., Alcaine worked several times with Italian filmmakers, directing photography for Alberto Lattuada (Così come sei, 1978), Fabio Carpi (Barbablù, Barbablù, 1987) and Giovanni Veronesi (Il mio West, 1998). He is currently engaged on set for Domino, the new thriller from Brian De Palma, with whom he previously made Passion (2012), and on a new project by Asghar Farhadi, with Javier Bardem and Penélope Cruz.

José Luis Alcaine will receive the Vision Award TicinoModa in Piazza Grande on Thursday 10 August. He will also be holding a Master Class on Friday 11 August at the PalaVideo at 3.30 pm. The Festival tribute will include a screenings of the films La piel que habito (Pedro Almodovar, 2011), Passion (Brian De Palma, 2012), Mujeres al borde de un ataque de nervios (Pedro Almodóvar,1988) and Belle Epoque, (1992).


Posted by Geoff at 7:48 AM CDT
Updated: Tuesday, July 25, 2017 6:32 PM CDT
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VAN HOUTEN IN AMSTERDAM WORKING ON 'DOMINO'
PRESS CALLS AFTER HER RETURN APPEARANCE ON 'GAME OF THRONES' SUNDAY NIGHT


Carice van Houten's return to HBO's Game Of Thrones Sunday night as Melisandre caused enough of a stir that she was doing interviews by phone from Amsterdam on Monday, where, according to the Los Angeles Times' Sarah Rodman, she is at work on Brian De Palma's Domino. Below is an excerpt from that article, followed by one from the Hollywood Reporter, both posted yesterday afternoon:

Sarah Rodman, Los Angeles Times

We recently chatted with Van Houten to find out what she sees in the flames for the rest of this season. Reached by phone from Amsterdam, where she’s at work on the upcoming Brian De Palma thriller “Domino,” Van Houten was stoked to be co-starring with none other than Nikolaj Coster-Waldau, with whom she has yet to share a scene on “Game of Thrones.”

“Even I am like, ‘Look at me, I am here filming a scene with Jaime Lannister,’ ” she said. “It’s so cool!”

Paths are finally crossing this season, and you were able to interact with a number of actors for the first time in Sunday’s episode. Was that exciting?

It’s very exciting. Because I’m always on my own with Stannis and Davos [Liam Cunningham]. That was my little gang, and it was fun because it was like being around Laurel and Hardy a little bit sometimes — two funny, completely different, opposite actors, and I had such a great time with them. But this was like a completely different show! And I was starstruck myself. Again I felt like, “Look at me, and I am here with the dragon girl and Peter Dinklage and Missandei!” Wow! I was quite impressed with everyone, and I just had a baby six weeks before, so I was in a state.


Josh Wigler, The Hollywood Reporter
You're shooting a Brian De Palma movie, Domino, with a Game of Thrones co-star right now: Nikolaj Coster-Waldau. What can you say about that experience?

It's really great. It's very scattered so far. We'll have a week here and two weeks there. There's a lot of time in between. It's very great. It's funny to meet two completely different characters, where we've never met on the show. It's funny for people to see us, extras and the like. We're shooting in Spain, where the fan base is so huge. It's been very sweet and funny. People will look at me sometimes like I can scare them a little bit. These big, grown-up men who look at me: "You're not really going to do anything, right? You don't really have fire powers?" They're sort of joking, but I can sense that feeling I had when I first met [Jack Gleeson, who plays] Joffrey. I was very scared of him! He was really scary! (Laughs.) It's funny, the effect this show has on people.


Posted by Geoff at 1:21 AM CDT
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Monday, July 24, 2017
SMARTLIGHTS ON GLASS ELEVATOR SHAFT
PATRICK HAEGEMAN INSTAGRAM PIC FROM ANTWERP 'DOMINO' SET

Posted by Geoff at 11:45 PM CDT
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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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