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a la Mod:
And then also a brief quote from Hirsch about Falling Down: "Falling Down is very relevant to current events in America today. It is one of my forgotten films, by and large, but I think it was sort of prophetic. And it represented a distinct editing challenge in its own way."
Nikolaj Coster-Waldau is on the edge in The Hollywood Reporter's exclusive first look at Domino.
Carice van Houten and Guy Pearce also star in the suspense-filled crime thriller, directed by Brian De Palma.
Currently in postproduction, the fast-paced crime thriller stars Coster-Waldau as Christian, a Copenhagen police officer seeking justice for his partner's murder by a mysterious man called Imran. He teams with Alex (van Houten), a fellow cop and his late partner’s mistress, to hunt down the murderer, 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, they're racing against the clock to get revenge and save their own lives.
Danish scriptwriter Petter Skavlan (Kon-Tiki) wrote the screenplay. Schønne Film's Michel Schønnemann produced, with Joel Thibout, Jean Baptiste Babin and David Atlan Jackson and Peter Garde serving as executive producers. Its co-producers are Jacqueline de Goeij for Zilvermeer Productions, Els Vandevorst for N279 Entertainment, Antonio Perez for Suroeste, Leonardo Recalcati for Recalcati Multi Media and Roberto Capua for Light Industry Motion Pictures.
Global Road Entertainment (formerly known as IM Global) is selling international rights to the film at AFM.
The conversation keeps flowing from there, with De Palma comfortably asking his friend questions about how he developed as a filmmaker (Baumbach eventually says his "Vertigo moment" might have been Truffaut's Jules And Jim). At one point, Baumbach recalls first meeting De Palma at Paul Schrader's 50th birthday party, and offering De Palma a part as a therapist in his new (at that time) movie. "And you said no," Baumbach recalls, "but you said, 'Don't worry, I turn everybody down. I turned Woody Allen down.' So I felt in good company."
That's all in the first 13 minutes-- listen to the full 39-minute podcast for much more.
Yet the De Palma sequence also differs from Carnimeo's sequence in many ways. De Palma has added the Hitchcock touch of Liz witnessing the killer and then herself holding the bloody weapon, making her an immediate suspect. And he has mixed in several other elements: the meeting of the eyes between victim and witness, as one exits the film's narrative and the other takes it over; the deliberate echoes of Hitchcock's Psycho shower scene; the intercutting of Liz's conversation with her client and the horrible murder taking place in the elevator cabin while they wait (creating a dark comic irony); the entire movie leading up to Dickinson's Kate Miller getting on the elevator, feeling guilty about her one-night-stand, realizing she has left her wedding ring upstairs in the stranger's apartment, and being stared at by a young girl who seems to sense the woman's guilt.
In the earlier giallo, the victim is someone the viewer has never met before. In De Palma's film, the viewer has already become very intimately involved with the woman before she ever steps into that fateful elevator.
You released a Brian De Palma documentary last year, and spent a few years before that revisiting his films. Did that influence Meyerowitz in any way?
Noah Baumbach: Somebody said to me the other the day that they saw Brian’s influence in the movie. I thought that was interesting. It’s not something I thought of consciously, but there are a lot of long camera moves and stuff I’ve done before, but I felt maybe I and Robbie Ryan, who shot it with me, were more successful at doing some things I’ve been trying to figure out. Brian obviously is known, rightfully so, for his great long pans.
And that thing which Brian says: you can’t play chess without showing the chessboard first.
Noah Baumbach: Right, right. Yeah, his whole thing of suspense is contingent on you understanding the space to know what’s really at stake. So often, people rush to the suspense without setting it up. Brian loves to set up a room and show you everything.
EMPIRE MAGAZINE, SEPTEMBER 2013, 'RAISING CAIN' RECUT
Nick De Semlyen has a great little sidebar interview with De Palma in the September 2013 issue of EMPIRE magazine. De Semlyen asks De Palma what we would find in his browser history cache. "They're doing live trials online now," De Palma replies, "so I've been watching the Zimmerman trial. I'm not really a YouTube guy, though I did see somebody re-edited Raising Cain into the original order in which I cut it. I looked at it and said, 'I should have left it that way.'"
'DEXTER', 'MAD MEN', 'WAR AND PEACE'
Asked if he watches any TV shows, De Palma replies, "I watched Dexter in the beginning and was fascinated by it. But when they extend these shows for six or seven years, they sort of run out of ideas, so I didn't watch the whole John Lithgow series. Even Mad Men is getting a little tired now. These things are ten times longer than War And Peace.
De Semlyen then asks De Palma if he saw Hitchcock. "Yes," De Palma replies. "I bought the book to see if it was actually real, what happened. I don't remember Hitchcock having problems with his marriage during the making of Psycho. So I thought it was interesting, but is it true?"
'THE DEMOLISHED MAN'
When asked about Ridley Scott's Prometheus, De Palma tells De Semlyen, "I didn't think it was as good as the original. It's not like Godfather I and II. There's a science fiction story that I've always felt would make a terrific movie: an Alfred Bester book called The Demolished Man. It's about a society of Espers, who can read people's minds. And then a great economic titan figures out how to kill his wife and not get caught. The rights are all tied up at Paramount."
JASON STATHAM FAN
De Semlyen concludes by asking De Palma if he's a fan of Jason Statham, who he was going to direct in the remake of Heat. "Oh yes," replies De Palma. "I've always wanted to make a film with him. I've seen both Cranks and loved them. In fact, I don't think there's a Jason Statham film I haven't seen. He's been doing too much action stuff, driving cars and beating up people. He needs a more Steve McQueen-type part. But it didn't work out."
The same issue also includes a positive review of Passion by Ian Nathan, who says that during its second half, "Passion is transformed into a butterfly of hyperactive noir."