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

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

« November 2018 »
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
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
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Fire
Frankie Goes To Hollywood
Fury, The
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
Sean Penn
Sisters
Snake Eyes
Sound Mixer
Spielberg
Star Wars
Stepford Wives
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
Friday, November 2, 2018
TRAVOLTA RECALLS 'CARRIE' WITH ON-SET PIC
"I DON'T THINK ANY OF US COULD HAVE KNOWN THE LIFE THE MOVIE WOULD TAKE ON..."
https://www.angelfire.com/de/palma/carriekidspromset.jpg

John Travolta posted the above pic to his Instagram page a couple of days ago. "On the set of #Carrie over 40 years ago," Travolta wrote on his post. "I don’t think any of us could have known the life the movie would take on for decades...or how many times we’d have to explain to our families the blood was actually corn syrup!"

Posted by Geoff at 8:04 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Tuesday, October 30, 2018
ALEKSANDER SZCZEPANIAK'S 'FEMME FATALE' POSTERS
GRAPHIC DESIGNER FROM WARSAW REIMAGINES POSTER FOR DE PALMA FILM
https://www.angelfire.com/de/palma/ffalsz1.jpgAleksander Szczepaniak, a graphic designer based in Warsaw, Poland, posted a stunning set of four new poster variations for Brian De Palma's Femme Fatale today on Instagram. Two of them are included here-- visit his Instagram page to see the other two, plus many other terrific poster designs.


Posted by Geoff at 10:57 PM CDT
Post Comment | Permalink | Share This Post
Monday, October 29, 2018
JENNIFER SALT DISCUSSES DE PALMA IN CRITERION CLIP
"HE PICKED PEOPLE HE ENJOYED WORKING WITH, AND KIND OF LET THEM GO THEIR WAY"
https://www.angelfire.com/de/palma/sisterssetjenniferbriansmall.jpg

Earlier today, Criterion posted a video clip from a new interview with Jennifer Salt. The full interview is one of the extra features on Criterion's new edition of Sisters, released last week. In the clip, Salt describes Brian De Palma on the set:
So, on the set, when we were shooting, Brian was... kind of grumpy-- didn't love being on a set, didn't like being asked all these questions, didn't like the amount of time that everything took. He was impatient. He didn't like sitting around. So, he was never in the best of humor, and so he wasn't like somebody who said let's talk about this and let's rehearse it and let's go deeper. He never said anything like that. He just would say, "A little more of this," or some-- you know, it was minimal, what he was giving us, in terms of direction. He picked people he enjoyed working with, and kind of let them go their way and, you know, hope that they would do their thing. And it was easy to do that, because you were getting so much respect from him. You know, I found it very easy. I was never nervous on the set, or, I just, like I said, I just wanted to make him laugh.

Posted by Geoff at 9:50 PM CDT
Post Comment | Permalink | Share This Post
Friday, October 26, 2018
GELDERBLOM ANNOUNCES 'KALEIDOSCOPE' FEATURE
WILL WRITE/EDIT/DIRECT USING FOOTAGE FROM FORGOTTEN FILMS TO TELL "ONE BIG STORY"
https://www.angelfire.com/de/palma/peetannounces.jpgDuring yesterday's Amsterdamned presentation of Raising Cain Re-Cut, Peet Gelderblom announced that he will "write, edit and direct a feature film entitled Kaleidoscope. A unique collaboration with Eye Filmmuseum and production company Tangerine Tree, in which footage from a multitude of forgotten films - silents, documentaries, propaganda, animation, advertising and educational video’s - will be combined to tell one big story." Sounds intriguing!

Posted by Geoff at 10:40 PM CDT
Updated: Saturday, October 27, 2018 12:34 PM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Thursday, October 25, 2018
'HOMECOMING' BORROWS FROM DONAGGIO'S DTK SCORE
ESMAIL PREVIOUSLY USED DONAGGIO THEME FROM 'BLOW OUT' FOR EPISODE OF 'MR. ROBOT'
https://www.angelfire.com/de/palma/homecoming2.jpg

According to Vulture's TV critic Jen Chaney, Amazon Prime's new series, Homecoming, which is directed by Sam Esmail, has "a score that sometimes literally borrows from older films — like Alan J. Pakula’s Klute and Brian De Palma’s Dressed to Kill." Here's the whole paragraph, for more context:
There are moments in Homecoming that are positively Hitchcockian, particularly with regard to Esmail’s choice of imagery. In episode three, there’s a vertical shot of Carrasco descending a flight of stairs that’s deliberately evocative of Vertigo. In a later episode, Esmail deploys a Hitchcock zoom so glorious it deserves an Oscar, even though, yes, I know, Oscars are not given to TV shows. Elements like that and a score that sometimes literally borrows from older films — like Alan J. Pakula’s Klute and Brian De Palma’s Dressed to Kill — infuse Homecoming with a classic conspiracy theory thriller spirit that makes it feel a bit old-school and thoroughly contemporary all at once. That’s an appropriate combo for a series based on something modern (a podcast) that has the feel of a throwback (a radio serial).

UPDATE OCT. 27 - HOW ESMAIL EXPANDED 'HOMECOMING' PODCAST INTO TV SERIES

The Wall Street Journal's John Jurgensen posted an article October 27th with the headline, "The Surreal World: TV Delves Into Paranoia, Anxiety and Misinformation." The article includes a discussion about Homecoming, and some interview comments from Esmail:

Homecoming” initially was a podcast, released by Gimlet Media in 2016 and featuring a surprisingly star-studded cast. Catherine Keener, who was the first to sign on, played Heidi Bergman, the character Ms. Roberts portrays in the TV adaptation. Oscar Isaac was Mr. James’s audio counterpart as the troubled veteran, while David Schwimmer played a hard-charging company man who launched the Homecoming program (played on TV by Bobby Cannavale).

The podcast’s creators, Micah Bloomberg and Eli Horowitz, also wrote and executive-produced the TV adaptation. When Mr. Esmail signed on to direct it, he expanded the story for a different medium by drawing on the tense cinema of the 1970s. For example, most of the music in “Homecoming” is from that era, using scores borrowed from movies directed by Brian De Palma, Alan J. Pakula and John Carpenter.

Mr. Esmail developed the style for “Homecoming” with many of his “Mr. Robot” collaborators, including cinematographer Tod Campbell and production designer Anastasia White. They tried to create a world in which characters deal with incomplete information in settings that feel askew.

The octagonal office where Ms. Roberts conducts counseling sessions creates a fishbowl effect. “You can move the camera around and it always feels circular, like there’s no way out and anyone can look in,” Mr. Esmail says.

In an unusual visual technique, “Homecoming” uses standard widescreen shots during the scenes from the past—before the Homecoming program unravels—but narrows the frame to a square when the story flashes forward.

That adds a claustrophobic urgency to the therapist’s quest for facts, Mr. Esmail says: “Boxes within boxes.”

As a director, Mr. Esmail is known for that kind of unorthodox camera work, intentionally framing characters off-center or surrounded by odd spaces. “Sam would walk into a room and his first question would be, ‘Does the ceiling come off?’ because he wanted to shoot from above,” Mr. Bloomberg recalls.

“We want absolute control over how we design the shot,” Mr. Esmail says, especially for scenes of people in a facility designed for surveillance. “They’re under a microscope.”


In an episode of Mr. Robot two years ago, Esmail opened with a flashback using Pino Donaggio's theme from De Palma's Blow Out. The episode's intro also brought to mind De Palma's Dressed To Kill and Carrie. Here's what I wrote on August 18, 2016:
Last night's episode of USA's Mr. Robot (season 2, episode 7, "eps2.5h4ndshake.sme"), which was directed by the show's creator, Sam Esmail, opened with a flashback set to Pino Donaggio's theme from Brian De Palma's Blow Out. The theme is the first significant sound heard in the episode (after a couple of footsteps), runs over the opening title and beginning of the credits, and includes a direct homage to De Palma's Carrie, a film which was also scored by Donaggio.

The episode opens with a hint of the way Donaggio's music brings us into Kate Miller's world in the first part of De Palma's Dressed To Kill. The Blow Out theme, lush and melancholic, is accompanied by a camera (us, the viewer, a.k.a. Elliot's "friend") consistently pushing in toward Joanna Wellick, the wife of Tyrell Wellick, a character we are so far led to believe is no longer alive. The flashback is centered on a gift, earrings, that Tyrell had given to Joanna just before a social gathering. As the camera gets closer to Joanna, and Donaggio's music offers sad reflection, Tyrell appears, and even when the scene shifts to the gathering (which includes the woman Tyrell murdered last season, leaving us without a doubt that we're in a flashback), the movement keeps moving from wide shot and, with help of a dissolve, into Joanna's face, seemingly moved by the earrings, the camera eventually providing the viewer a close-up view of an earring in Joanna's ear which, via a match-cut, takes us out of pre-Tyrell's disappearance and into a more present-day, post-Tyrell flashback, where Joanna is tending to her baby in a stroller on the street.

Donaggio's theme here enters into its sparse piano portion (the part that Tarantino used for a tender texting moment in Death Proof), as the episode's opening credits also begin. An older woman is walking by, and Joanna smiles at her, but the woman turns out to be one of the many angry members of society walking around the city in the wake the E Corp hack. Targeting Joanna (and while we as viewer are still focused on the fact that she is wearing the expensive earring gift), the woman suddenly throws a bucket of what appears to be red paint onto Joanna, while shouting, "Capitalist pig!" The use of the word pig, a bucket, and the color red (whether actual pig's blood or red paint) mark the moment as an overt homage to De Palma's Carrie, as does the way Joanna then begins to scream out at the world while splattered in red, yet we can't hear her screams, only the quiet piano of Donaggio's theme from Blow Out, as the title "Mr. Robot" starkly appears overlayed upon Joanna's rage.

As Donaggio's theme trails off to its poignant final notes, the scene shifts once again into present day, as Joanna is now gazing upon a new gift set on top of her kitchen counter: a framed ultrasound sonogram of the baby she and Tyrell created. Joanna has been receiving gifts that seemingly come from Tyrell, who may be dead, and as the camera looks up from the countertop to Joanna sipping on a glass of wine as she looks down at the gift, we hear Elliot's voice ("I see you"), and for a moment, juxtaposed against Joanna's face, we sense that Elliot has been sending the gifts, and perhaps watching Joanna, until we realize Elliot is addressing us, his "friend," the viewer. Or is he...?

In any case, it is a brilliantly-conceived opening sequence by Sam Esmail. Looking forward to seeing how it all fits in once we know the truth about everything that is actually going on.


Posted by Geoff at 8:06 AM CDT
Updated: Saturday, October 27, 2018 12:24 PM CDT
Post Comment | Permalink | Share This Post
Wednesday, October 24, 2018
'SISTERS' - CARRIE RICKEY'S CRITERION ESSAY
A KEY THEME - "LOOKING IS NOT SYNONYMOUS WITH TRULY SEEING"
https://www.angelfire.com/de/palma/criterionsisterstweet.jpg

Carrie Rickey's essay for the new Criterion edition of Brian De Palma's Sisters (released yesterday) has been posted on the Criterion website. Here's how it starts:
In 1973, the arrival of Sisters, the first film by Brian De Palma that is recognizably his, almost concurrently with the release of Frenzy, the penultimate feature by Alfred Hitchcock, incited heretical talk among cinephiles. Many argued that the former was superior to—and, curiously, more Hitchcockian than—the latter. At the time, I thought those movie geeks were being provocative and/or blasphemous. With distance, I’ve come around to their way of thinking. That U-turn was, for me, a first brush with George Bernard Shaw’s insight that all truths begin as blasphemies.

Posted by Geoff at 7:57 AM CDT
Updated: Wednesday, October 24, 2018 8:01 AM CDT
Post Comment | Permalink | Share This Post
Saturday, October 20, 2018
GELDERBLOM TO PRESENT RAISING CAIN RE-CUT
AMSTERDAMNED FILM FEST NEXT WEEK ALSO INCLUDES DE PALMA'S 'BODY DOUBLE' & 'PHANTOM'
https://www.angelfire.com/de/palma/cainamster.jpgPeet Gelderblom will be present for a Q&A following an Amsterdamned 2018 screening Thursday (October 25th) of his Re-Cut of Brian De Palma's Raising Cain. The Amsterdamned Film Festival takes place Wednesday October 24th through Friday October 26th. The screening of Raising Cain Re-Cut is part of a special Amsterdamned focus on De Palma at this year's festival. Screenings of Body Double and Phantom Of The Paradise will also be included.

In addition, Gelderblom tells us that he will be announcing an upcoming project at Amsterdamned: his first feature film. All the best to you, Peet!

 

Visit Peet Gelderblom at Directorama.net


Posted by Geoff at 1:35 PM CDT
Updated: Sunday, October 21, 2018 9:01 AM CDT
Post Comment | Permalink | Share This Post
Sunday, October 14, 2018
INSTA-FLASHBACK- MISSION TO MARS SPACESHIP MODEL
YEAR 2000 PIC SHOWS THE MARS 1 BEING MOVED TO STAGE FOR SHOOTING ON DE PALMA FILM
https://www.angelfire.com/de/palma/m2mspaceshipmove.jpg

Yesterday, Michael Possert, Jr., who was the visual effects crew chief of Dream Quest Images for Brian De Palma's Mission To Mars, posted the above pic on his Instagram page (circa1964), with the following caption, which led to the successive comments:
circa1964 Here we are moving the finished Mission To Mars spaceship - the Mars 1 - to stage for shooting. It was 21' or 6.4 meters from end to end. This was made at Dream Quest Images in Simi California in 2000.

#missiontomars #dreamquestimages #briandepalma #garysinise #timrobbins #doncheadle #connienielsen #practicaleffects #vfx #miniature #miniatures #handmade #modelcraft #scalemodel #scratchbuild #modelmaker #modelmaking #custombuild #moldmaker #setlife #behindthescenes #greenscreen #motioncontrol #2000 #spaceship #mars #rocket #blastoff #orbit #crew

curly.phil Wow! That’s crazy 😮😮 What’s the biggest ship you’ve worked on?

circa1964 @curly.phil I think this one. The Nightingale from Supernova was 19 1/2'. The alien craft that rises at the end of The Abyss was 20' across, maybe more. Can't remember but I think 20'. So, this one. Now, cities or landscapes is a whole other thing.

curly.phil @circa1964 😂😂 Go on then. Biggest city and landscape?

circa1964 @curly.phil I will get back to you on that. Memory overload.😁😂

mcsbro Is this the same model that’s currently in the Mission Space line queue at Epcot?

circa1964 @mcsbro I think it is! I just did a search online and found some pics. I would be surprised if it isn't. Thanks for the info.


Posted by Geoff at 3:05 PM CDT
Updated: Sunday, October 14, 2018 3:07 PM CDT
Post Comment | View Comments (2) | Permalink | Share This Post
Saturday, October 13, 2018
KNIFE + HEART DIRECTOR LOVES DE PALMA & 'PHANTOM'
"IT'S LIKE A KID PLAYING WITH THE IMAGES, TRYING TO INVENT & EXPAND ON THEM"
https://www.angelfire.com/de/palma/phantomswanvoicebox.jpg

Several critics at Cannes last May mentioned Brian De Palma in their reviews of Knife + Heart. Yann Gonzalez, director of that film, discusses De Palma and more in an interview with Film Inquiry's Hazem Fahmy, which posted a couple of days ago:
I know you’ve mentioned that you’ve drawn a lot of influence from Argento and Brian de Palma. Any films in particular?

Yann Gonzalez: I saw Phantom of the Paradise again two weeks ago, and this is one of the films I [showed] to the actor who plays the killer, Jonathan Genet, who was the lead in the last Żuławski film, Cosmos. There’s something so childish in Phantom of the Paradise. It’s like a kid playing with the images, and trying to invent and expand on them at every moment in the film. And I loved it, so much. [It] brings together so many atmospheres; it’s a comedy, it’s a tragedy, it’s super goofy, it’s super stupid at some points, it’s a musical, it’s a horror film. It’s so many things at the same time, and it’s dealing with everything in such a brilliant way.

Brian de Palma is my favorite director ever, and maybe it’s not my favorite film of his because I think he made stronger films. For instance, every time I see Carrie or Obsession, I cry, and cry, and cry, for half an hour at least. But with Phantom of the Paradise, you have this guy, this is maybe his third or fourth important picture– I think he made maybe five or six pictures before, but this is really one of the first important pictures he made, and he’s still so young at heart. You can feel the vibration of youth, the joy of making cinema and the artifice of cinema all the time in that [film]. That can be very exhilarating.

I’m seeing all kinds of similarities now that I think about it. From the masked monster to the relationship between creativity and violence; how a beautiful thing can have a really dark past. You mentioned the joy of filmmaking, which I think is really present in the film–

Yann Gonzalez: Thank you!

Like the way the opening sequence was unfolding, as Lois was editing and the murder was happening, I just kept thinking to myself: “God, snapping film like that must be so satisfying.”

Yann Gonzalez: This is why I mostly still watch films from the Seventies or Eighties. I think we kind of lost this naivety of cinema; just opening yourself and trying to be as free as you can, and expressing your joy [in] making a film. It’s getting more and more rare that you can feel this joy in making a film. There are too many producers, too many people involved in the filmmaking process. I think you lose this childish aspect of making a film, which I think is super important.

Is there something you do on set, or in preparing with your actors, to maintain that sense of joy in making a film?

Yann Gonzalez: It has to be contagious. Of course, it’s the job of the filmmaker, but you must choose the right people to maintain this joy. And it’s very fragile because there’s lots of tension on the set; sometimes it’s really excruciating to go through one day of shooting. There are so many issues, so many problems all the time. I think I was really lucky because, 95% of the time I was surrounded by people who were really kids at heart. And especially Vanessa Paradis, she has this real innocence, and this kindness of a kid. She’d never acted like a star, she was part of the crew, and that’s all, expressing the same joy as the crew. It was really contagious. We were like a bunch of kids doing film.


Posted by Geoff at 10:32 PM CDT
Post Comment | Permalink | Share This Post
Thursday, October 11, 2018
PENELOPE ANN MILLER'S #tbt PIC - 'CARLITO'S WAY'
"THOSE WERE THE DAYS MY FRIENDS!"
https://www.angelfire.com/de/palma/penelopetbt.jpgPenelope Ann Miller posted this image today on her Instagram page, with the following caption:
#tbt #carlitosway “Here’s looking at you kid” #alpacino #briandepalma #seanpenn #viggomortensen #luisguzman #ingridrogers Those were the days my friends! #blessed #grateful

alpacinofilmfestival shared the pic afterward, adding, "The location used as Gail's apartment (5-7 Minetta Lane) is the same building used to represent Frank Serpico's apartment in Serpico.

Posted by Geoff at 10:23 PM CDT
Post Comment | Permalink | Share This Post

Newer|Latest|Older