Firstly, it is important to realize that the 70mm prints were blown up from a 35mm anamorphic negative which means in order to maintain a 2.35:1 screen aspect ratio, it became necessary to introduce frame lines top and bottom that, unfortunately, may be projected.

Therefore, any help you can provide toward alleviating this problem (either by adjusting your screen masking or cutting new projector mattes) would be greatly appreciated.

It is also hoped that in converting your print to a platter format, clear rather than opaque tape be used to join the reels and that fast drying white ink or some other commercially available marker be employed to mark the joins.

Though these procedures may take some extra time, they are plainly in the interests of our audience.

Finally, a note on changeovers.

If you intend to screen your print on 2,000 ft. reels, be advised that the changeover cue marks at the end of reel 1 may be difficult to see. As scribed in, they occur at the end of a scene in which Robert DeNiro (Capone) reads a paper in bed while smoking a cigar.

Fortunately, these cues are the only ones you need to worry about, as the rest are clearly visible.

Thank you for hearing us out.

We wish you much succcess with The Untouchables and trust you won't hesitate to call the T.A.P. hotline (1-800-545-2525) should any problems arise.

Sincerely, Brian DePalma

Basically, We Blew It is a film that deals with the question of the years '60-'70 by questioning their very existence. The work of a director who evolves in a landscape of images and is all too aware of the impact of these images themselves not to wonder if they have not printed in the retina of the popular unconscious a reality that never took place. A dialectic that is found in particular in the staging bias of Thoret. Filmmaker obviously cinephile, the author multiplies the references to New-Hollywood to question his own references. We think of the scene where the camera is walking in Dallas, on the road on which JFK died as if it were scanning the traces of a perennial trauma. As the screen sweeps the asphalt, an oppressive music straight out of a film by Brian De Palma, THE filmmaker who made this fatal day of November 15, 1963 the reason for his cinema, accentuates and invades the entire sound space. As if Thoret summoned the spectrum of the director of Blow Out to derealize what he films and plunge into an agonizing abstraction, which exceeds the factual historical event to touch something more disturbing. For those who arrive in the empty room of all references, the tools work in the first degree, but for the viewer initiated to its author and his cinephilia, Thoret brings a historical event to his cinematographic representation, as if the passage of a historical event in a regime of specific images had altered the initial reality. Did New Hollywood invent these years? Has cinema created America? This is the agonizing question that runs through the author's approach, seeking the traces of cinema in what he films.

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.