Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod

E-mail
Geoffsongs@aol.com

De Palma Discussion
Forum

-------------

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

-------------

Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

------------

AV Club Review
of Dumas book

------------

« September 2017 »
S M T W T F S
1 2
3 4 5 6 7 8 9
10 11 12 13 14 15 16
17 18 19 20 21 22 23
24 25 26 27 28 29 30

Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

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

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds

EatSleepLiveFilm

No Time For
Love, Dr. Jones!

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.
All topics
Ambrose Chapel
Are Snakes Necessary?
BAMcinématek
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Books
Boston Stranglers
Bruce Springsteen
Cannes
Capone Rising
Carlito's Way
Carrie
Casualties Of War
Catch And Kill
Cinema Studies
Clarksville 1861
Columbia University
Columbo - Shooting Script
Congo
Conversation, The
Cop-Out
Cruising
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dick Vorisek
Dionysus In '69
Domino
Dressed To Kill
Edward R. Pressman
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Fire
Frankie Goes To Hollywood
Fury, The
Genius of Love
George Litto
Get To Know Your Rabbit
Ghost & The Darkness
Greetings
Happy Valley
Havana Film Fest
Heat
Hi, Mom!
Hitchcock
Home Movies
Inspired by De Palma
Iraq, etc.
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Lithgow
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Mod
Montreal World Film Fest
Morricone
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Newton 1861
Noah Baumbach
NYFF
Obsession
Oliver Stone
Palmetto
Paranormal Activity 2
Parker
Parties & Premieres
Passion
Paul Hirsch
Paul Schrader
Pauline Kael
Peet Gelderblom
Phantom Of The Paradise
Pimento
Pino Donaggio
Predator
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Redacted
Responsive Eye
Retribution
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
Sakamoto
Scarface
Scorsese
Sean Penn
Sensuous Woman, The
Sisters
Snake Eyes
Sound Mixer
Spielberg
Star Wars
Stepford Wives
Stephen H Burum
Sweet Vengeance
Tabloid
Tarantino
Taxi Driver
Terry
The Tale
To Bridge This Gap
Toronto Film Fest
Toyer
Travolta
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Untouchables
Venice Beach
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Tuesday, September 12, 2017
TUESDAY TWEET - ART COLLECTION
COMING LATER TODAY - SOME LINKS FROM ALL THE STEPHEN KING/'IT'/'CARRIE' POSTS ONLINE

Posted by Geoff at 8:01 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Friday, September 8, 2017
PAUL WILLIAMS IN PERSON FOR 'PHANTOM' OCT 1
AT BEYOND FEST 2017 IN LOS ANGELES; ARGENTO IN PERSON FOR 'SUSPIRIA'


Paul Williams will appear in person for a screening of Brian De Palma's Phantom Of The Paradise October 1st at Beyond Fest 2017 in Los Angeles. The Phantom screening begins at 4pm. Later that evening, Dario Argento will be on hand for two screenings of the new 4K restoration of his Suspiria, which stars Jessica Harper, fresh off her film debut in Phantom.

Posted by Geoff at 8:11 AM CDT
Post Comment | View Comments (4) | Permalink | Share This Post
Thursday, September 7, 2017
HBO SPIELBERG DOC - 'STAR WARS' ANECDOTE
SPIELBERG TELLS NEW VERSION OF OPENING CRAWL STORY


Yesterday, Newsweek's Ryan Bort posted an article with the headline, "9 Things We Learned About Steven Spielberg from HBO's New Documentary On The Director." Included was the old anecdote about Brian De Palma suggesting the opening Star Wars crawl, retold by Spielberg for the new doc:
5. Spielberg Was the Only Other Filmmaker to Believe in Star Wars

A tight-knit unit of filmmakers formed between Spielberg, Lucas, Coppola, Scorsese and De Palma. They hung out together, challenged each other, consulted each other and together would revolutionize the film industry throughout the 1970s and beyond. When Lucas finished a rough mock-up of Star Wars, he showed it to the group.

“It was basically a children’s film,” he said. “It wasn’t what the other friends of mine would think of as something worthwhile. Steven was the one person who was really enthusiastic about it. He said it was going to be a huge smash.”

It was De Palma, however, who came up with the idea for the film’s iconic scrolling prologue. After De Palma “went off” on Lucas for the film’s lack of context, he said it needed, as Spielberg remembers, “an old-fashioned movie that starts with a forward, where words come on the screen and travel up it and tell you what the hell you’re looking at and why you’re in the theater and what the mythology is.”


Spielberg will screen at the New York Film Festival ahead of its HBO premiere October 7th.

Posted by Geoff at 7:56 AM CDT
Post Comment | Permalink | Share This Post
Tuesday, September 5, 2017
IN A GALAXY GONE ASTRAY
AS ANOTHER DIRECTOR EXITS 'STAR WARS', DE PALMA A TOP CHOICE FOR SOME...

Posted by Geoff at 7:11 PM CDT
Updated: Tuesday, September 5, 2017 7:15 PM CDT
Post Comment | View Comments (2) | Permalink | Share This Post
Sunday, September 3, 2017
'CARRIE' FRI/SAT MIDNIGHT IN GARDENA, CA
AND SCOTT TOBIAS - "SECRETS TO MAKING GREAT STEPHEN KING MOVIES"
With a new adaptation of Stephen King's It opening this Friday, there have been many articles of late discussing the many adaptations of King's works. A couple of days ago, Scott Tobias posted an article at the Washington Post with the headline, "The secrets to making great Stephen King movies"...
Some have stuck to the page, letter by letter, and others have only a casual relationship to the text — neither approach is a guaranteed winner.

But there are some connections to be made among the strongest King adaptations. The first is counterintuitive: King characters are best understood from the inside out. That goes against conventional wisdom, because the most adaptable books tend to be short on interior monologue and long on external action, which is why a sledgehammer narrative such as James M. Cain’s “The Postman Always Rings Twice” has been adapted multiple times in English, in Italian (“Obsessione”), in German (“Jerichow”) and in Chinese (“Ju Dou”), and the novel’s murderous love triangle has been resonant every single time. Finding some visual analog for a character’s thoughts is a trickier proposition.

Yet the true horror of films such as “Carrie,” “The Shining,” “The Dead Zone” and “Christine” has to do with transformation, of ordinary stresses escalating into supernatural possession. In Brian De Palma’s hands, “Carrie” turns a teenage girl’s coming of age into a tale of profound isolation and sexual repression, with her desire for womanhood thwarted by her cackling peers on one side and the shame of her fanatically religious mother on the other. Even when her extrasensory powers torch the high school and beyond on prom night, it’s as heartbreaking as it is horrific, a manifestation of pain she can no longer manage.

In Stanley Kubrick’s “The Shining” and John Carpenter’s “Christine,” there’s a chicken-and-the-egg quality to the relationship between the lead character and the sinister object of their obsession. Perhaps the Overlook Hotel or that snarling 1958 Plymouth Fury would wreak havoc without them, but human weakness and temptation are animating forces in both films, to the point where a symbiosis develops between those forces. We might fear the goings-on in Room 237 or the animal roar of a sentient muscle car, but the source of each fear is so deeply connected to one man’s ravaged psyche, we can’t get a distance from it. David Cronenberg’s “The Dead Zone” makes a curse out of a gift, martyring a man who can see the future at the price of his life.

The other common thread is filmmakers who refuse to act as stenographers and invent or embellish beyond the page. Despite all the misbegotten adaptations of his works, King is most famous for detesting what Kubrick did with “The Shining,” a film many would rank among the scariest of all time. But at the center of that animus is King’s perception of creative disrespect: He wrote a deeply personal horror novel about alcoholism and authorship, only to have Kubrick strip it for parts with the ruthlessness of a chop-shop mechanic. Yet it was Kubrick’s prerogative as an artist to reimagine the novel and make the film a separate entity.

Although other filmmakers haven’t been as dismissive of the source material, they’ve benefited from their own invention. Frank Darabont had to expand on novellas to turn “The Shawshank Redemption” and “The Mist” into full-bodied features, but the former now trades places with “The Godfather” as the top user-rated movie on IMDb, and the latter concocts an ending of astonishing darkness. A little creativity was also necessary to turn King’s novella “The Body” into “Stand By Me,” but director Rob Reiner honors the nostalgia and ache at the heart of King’s coming-of-age story, even as it was impossible to write to the letter. When Reiner later took on King’s “Misery,” about an author held captive by his biggest fan, he favored psychological violence over the physical brutality of the novel, but he makes one thwack to the ankles count.


Carrie will be screened at midnight showings this Friday and Saturday at Gardena Cinema in California, as the first of "two of the best Stephen King feature film adaptations," according to the flyer partially seen above. The other film is Cronenberg's The Dead Zone, which will play Fri/Sat midnight the following weekend.

Posted by Geoff at 11:57 PM CDT
Updated: Monday, September 4, 2017 12:11 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Wednesday, August 30, 2017
HBO'S 'SPIELBERG' DOC TO PREMIERE AT NYFF
DE PALMA, SCORSESE, LUCAS, COPPOLA, OTHERS APPEAR IN THE FILM
Earlier this summer, HBO announced that Spielberg, a documentary on Steven Spielberg by Susan Lacy, will premiere on the channel October 7th. This week, it was announced that the film will have its world premiere at the New York Film Festival, which runs September 29 through October 15. The documentary includes new interviews with Brian De Palma, Martin Scorsese, Francis Ford Coppola, George Lucas, John Williams, Tom Hanks, Robert Zemeckis, and several others.

According to The Hollywood Reporter's Ashley Lee, "The film spans from his early love of moviemaking while growing up in all-American suburbia, through his rise to fame with Jaws, to his establishment of a film-and-TV empire with DreamWorks, and beyond." Lee states that Spielberg and Lacy will both be in attendance for the film's premiere at the festival.

Last month, Deadline's Lisa de Moraes posted some things Lacy said about the doc at a Television Critics Association session:

“He in no way tried to steer this film; he did not see it until it was finished,” Susan Lacy told TV critics of her Steven Spielberg docu for HBO, when asked what the director told her he did and did not want to see in the 2 1/2-hour project.

“We did not talk about what I was going to do and wasn’t going to do,” she bristled at Wednesday afternoon’s TCA Q&A on Spielberg, which debuts October 7.

Lacy conducted nearly 30 hours of interviews with Spielberg for the doc.

“I’m a very in-depth interviewer,” she boasted. “We were still deeply in childhood after two hours. He is very shy about interviews; he does very few. [It’s] quite an extraordinary experience to hear him really open up.”

...

“Every actor I interview – and I interviewed everybody – they were most impressed with how much he understands the process of filmmaking and how he sees ahead when he’s shooting,” she said. “Very few filmmakers have that skill. I did so much research.”

Lacy did not, however, interview Spielberg’s wife Kate Capshaw or any of their children for the bio. “She did not want to do an interview for the film; they are very private in terms of their family life,” Lacy explained. “I made the decision not to interview the children,” though she did interview Spielberg’s sister and parents because “they were there at the birth of him becoming a filmmaker.”

Spielberg does not delve into his personal life much, she said, though he does discuss the impact his parents’ divorce had on him and how it informed E.T., for instance.

Lacy also did not dwell on how long it took the the Motion Picture Academy to recognize Spielberg with a Best Picture Oscar. She said she felt the statement about his winning it for the first time with Schindler’s List, after having made six of the top-grossing movies of all time, made the point.

She also did not delve into Spielberg’s involvement with DreamWorks or his work in TV, focusing purely on his directing of movies.

“He is a populist and an artist,” she described. “He’s an incredibly personal filmmaker.”

Lacy added: “For the most commercial filmmaker in history, I do not think box office has ever been what has driven him. What’s driven him is what interests him and what he thinks is important to say.”

The decision to make a 3 1/2-hour black-and-white movie about the Holocaust, she said as a for instance, “did not come out of focus groups. It could have been a huge flop.”

Spielberg explores the directors’ thoughts on Jaws, E.T. The Extra-Terrestrial, Raiders of the Lost Ark, The Color Purple, Schindler’s List, Jurassic Park and Saving Private Ryan. One TV critic at the session noted that the doc does not discuss at any length those of his movies that were not as successful.

“If it isn’t in the film doesn’t mean we did not talk about it,” she countered. “It means I had a 2 1/2 hours.”

Lacy previously helmed PBS’ American Masters for three decades; TV critics wondered what it was like for her to work with HBO’s documentary chief Sheila Nevins. Lacy called it “nothing but pleasure for me.”

“We kiss every morning and hug every night,” joked Nevins.


Posted by Geoff at 7:42 AM CDT
Post Comment | Permalink | Share This Post
Monday, August 28, 2017
'CULT OF CHUCKY' BAROQUE LIKE DE PALMA
MANCINI'S FILM "A GORY HOOT", ACCORDING TO CINEVUE'S MARTYN CONTERIO


CineVue's Martyn Conterio reviews Don Mancini's Cult Of Chucky
Cult of Chucky is by and large a gory hoot, with Jennifer Tilly stealing every scene she's in. Sprinkled with James Whale-style camp, Brian De Palma's baroque aesthetic and expressionist production design recalling William Cameron Menzies' use of exaggerated sets in Invaders from Mars, Don Mancini's new Chucky film delivers everything a Chucky fan could possibly want: corny one-liners, the carrot-haired monster being horrible to everybody, Jennifer Tilly playing a demented femme fatale and plenty of violence.

Since their rejuvenation under the auspice of creator Mancini, the once-controversial Child's Play movies have taken a rewarding tongue-in-cheek approach, with doses of postmodernist winking at the audience. Most slasher movie franchises are on the bones of their arse by the seventh episode, dog-tired and ready for the chop, but with Mancini back on board calling the the shots, Chucky has found a new lease of life, moving away from the dark origins of Child's Play and its two sequels into exclusively horror-comedy territory.

...

Like the best trashy psycho-thriller Brian De Palma never made, Cult of Chucky revels in giddy nonsense. Mancini deploys split-screen, split-focus, suspenseful editing and stages surprisingly icky deaths with aplomb (Nica stomping on a guy's head until its total mush being the chief highlight). And how does a wheelchair user find herself walking? That would be telling. While the plot is supremely silly, hardcore devotees will be delighted to find twists and turns along the way.


This past April, We Live Entertainment's Fred Topel attended a panel for Cult Of Chucky at Monsterpalooza in Pasadena, California. Topel posted that Tilly told the audience, "You’ll see there’s references to other movies because Don Mancini loves horror movies. He’s incorporated homages to great horror films that have come before.” After which Mancini added, "We have lots of Brian De Palma."

FLASHBACK - 2004

Posted June 11 2004
CHUCKY PAYS HOMAGE TO EARLY DE PALMA
ACCENTUATED BY DONAGGIO SCORE
Don Mancini, who has written all four of the previous films in the Child's Play series, is making his feature directorial debut with the upcoming fifth installment, Seed Of Chucky, which he also wrote. According to Fangoria magazine's January issue (the news of which you can read at Gorezone), Mancini has hired Pino Donaggio to compose the score for the film. "A lot of Seed is a takeoff on Brian De Palma's early movies," Mancini told Fangoria, "and I thought it would be a perfect touch to have his composer do the music for our film as well." Donaggio scored many of De Palma's classic thrillers, beginning with Carrie, and continuing with Dressed To Kill, Blow Out, Body Double, and Raising Cain. He also scored De Palma's comedy, Home Movies, and told an Italian newspaper in 2002 that he would be scoring De Palma's upcoming Toyer. Seed Of Chucky is released in October, and will also feature director John Waters as an "ill-fated papparazzo," according to Mancini.
(Thanks to Space Ace!)


Posted by Geoff at 12:00 AM CDT
Updated: Monday, August 28, 2017 12:29 AM CDT
Post Comment | View Comments (2) | Permalink | Share This Post
Thursday, August 24, 2017
2ND UNIT PREPS 'DOMINO' RETURN TO ALMERIA
2ND UNIT CINEMATOGRAPHER JOSEP M. CIVIT FILMED IN COPENHAGEN, NEXT IN ALMERIA


From the tweet above, it appears that Josep M. Civit, the second unit cinematographer on Brian De Palma's Domino, has either already begun or will begin soon to shoot in Almería. A profile piece on Civit from a week ago by Ara's Cristina Ros began with the following (translated from Catalan with help from Google)...
"I wanted to be a movie director. I thought the director was the one who looked at the camera and, when I learned that no, who does it is the director of photography, I already knew what I wanted to be." This is how Josep Maria Civit (Barcelona, 1954) tells us, to whom we find in a single week of summer rest, that Brian De Palma has given to the filming of Domino, between his work in Copenhagen and what he will do in the coming weeks in Almería. It is not the only film in which one of the Catalan directors of photography is now working with a more solid and expanded career. In early summer, we see in the photo, Civit was in London, under the orders of Agustí Villaronga, in a part of the filming of the next filmmaker of the Mallorcan filmmaker, Born a King, a Spanish, English and Spanish co-production Saudi Arabia, where they will shoot in October to avoid high current temperatures. "I do not stop this summer," Civit says: "The truth is that my summers always have me busy." In any case, he is satisfied. "I spent the summer between two privileged minds: that of Agustí Villaronga and that of Brian De Palma. I'm delighted. We move from one place to another, but to me, regarding work, what interests me is that I make a trip to the director's head in every movie. It is he who has the skin on his head."

Posted by Geoff at 11:39 PM CDT
Post Comment | View Comments (2) | Permalink | Share This Post
Tuesday, August 22, 2017
VIDEO - JOSH SAFDIE ON SELENA GOMEZ
"SHE'LL JUST DEVOUR A MOVIE & WATCH LIKE A DE PALMA MOVIE 4 OR 5 TIMES IN A DAY"

Selena Gomez moderated a Q&A with co-director Josh Safdie and producer Sebastian Bear-McClard, following a screening of their movie Good Time this past Saturday at ArcLight Hollywood. Gomez began by explaining that she is a fan of the Safdie Brothers' Heaven Knows What, after which Safdie told the audience, "People might not know this, but Selena's like an avid movie devourer. She just like will devour a movie and watch like a De Palma movie four or five times in a day. [Gomez laughs] And it's very very very very cool."

Previously:
Selena Gomez has "fetish" for Brian De Palma films

Posted by Geoff at 7:21 PM CDT
Updated: Tuesday, August 22, 2017 7:22 PM CDT
Post Comment | Permalink | Share This Post
Monday, August 21, 2017
INTRADA REMASTERS 'BODY DOUBLE' SOUNDTRACK
"IMPORTANT SONIC ADVANTAGES" FROM 2008 EDITION, BONUS TRAILER MUSIC, REISSUE AUG 22
Tomorrow (August 22nd), Intrada is releasing a newly remastered edition of its Body Double soundtrack, which the label originally issued in 2008. "Popular, wildly flamboyant Pino Donaggio horror soundtrack gets facelift!" begins the description on the Intrada website. About this new edition, the site states that the "new 2017 edition of Body Double is presented from all new master incorporating several important sonic advantages including much-improved levels, stereo balancing of many tracks, courtesy pristine source elements from Columbia Pictures." As an added bonus track, they have added "original trailer music by Jonathan Elias, with its lush, romantic John Barry-ish vibe, also presented in stereo."

Here's the full blurb:
Popular, wildly flamboyant Pino Donaggio horror soundtrack gets facelift! Columbia Pictures presents, Brian De Palma directs, Craig Wasson, Melanie Griffith, Gregg Henry - and a really big drill star. De Palma pays homage to Hitchcock with this fascinating tale of murder and obsession. Donaggio, frequent collaborator with De Palma, provides vivid, full-blooded score with balance of French horn-led power, string-led romance, quasi-soft rock beat to cover all the bases of this over-the-top thriller. Donaggio offers haunting, achingly beautiful theme for piano, strings over the titles to anchor, but interestingly precedes it with intentionally cheesy faux-horror vampire music for on-screen low budget film in production. With two ideas established, Donaggio then takes listener on multi-path listening experience: source music with rhythm at core, dramatic suspense material, powerful fortissimo horror sequences, rousing chase music, gentle melancholy, you name it. Donaggio excels with the horror genre, especially for De Palma. Dressed To Kill, Blow Out, Carrie are other favorites of the genre and Donaggio brings each a blend of haunting beauty and terrifying thrills. Body Double is arguably the most involved in terms of scoring, offering the widest range of material and the most florid in execution. The highlights are numerous: sensual major-key melody of “The Telescope” with its sexy female voice mingling amongst the orchestral colors, varied action and orchestral drama of “Rendezvous; Purse Grab; Tunnel Claustrophobia”, lengthy and incredible unison French horn power of “The Big Drill” underscoring hair-raising murder scene, hypnotic repeating phrases of “Detective McClane, Please!”, pulsating action of “A Night On Mulholland Drive; A Grave For Holly”, “Terror In The Grave”, many others. Orchestrational tidbit: Donaggio scores for full symphony but tacets trumpets. Resulting brass sound imbues score with darker, intenser quality. Originally premiered by Intrada in 2008, new 2017 edition of Body Double is presented from all new master incorporating several important sonic advantages including much-improved levels, stereo balancing of many tracks, courtesy pristine source elements from Columbia Pictures. New edition also premieres original trailer music by Jonathan Elias, with its lush, romantic John Barry-ish vibe, also presented in stereo. Otherwise, selections and packaging remain similar. Crisply recorded at The Burbank Studios across two weeks in September 1984. Pino Donaggio composes, Natale Massara conducts. Intrada Special Collection CD available while quantities and interest remain!

Posted by Geoff at 9:34 PM CDT
Post Comment | Permalink | Share This Post

Newer|Latest|Older