Accounts in the book illustrate what editors gain from directors with markedly different styles and focus.

“De Palma’s very visually oriented,” Hirsch says, reflecting on the baroque setups used in the bloody prom scene climax of 1976’s “Carrie.”

“In terms of storytelling, George Lucas is extraordinarily gifted in terms of design. De Palma’s very interested in how he moves the camera,” with elaborate tracking shots and set pieces that flew apart to accommodate them.

“While in ‘Star Wars’ I don’t think the camera ever moves within the visual-effects sequences.”

And shots of live actors used mainly just pans across the set, Hirsch recalls.

Although friends have praised the still unpublished project, Hirsch is wary of those who can’t be objective, arguing that Hollywood sometimes falls prey to that trap.

“I don’t think these ‘friends and families’ screenings are very meaningful – I want to hear what the enemies and strangers have to say.”

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.