SOME FRAMES FROM 'FEMME FATALE'
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a la Mod:
I was recently a guest on this fun show @deadbeatfilmsociety talking all about one of my favorite films #phantomoftheparadise !! 👻 🎹⚡️ it came out in 1974 and influenced a ton of other movies. And featured TONTO the monster synth that predated the Fairlight (The Original New Timbral Orchestra) best known for this movie and Stevie Wonder’s “Superstition”.
The Mission To Mars spaceship - the Mars 1. One of the last giant miniatures to have motion control shooting. This model was about 21' or 6.4 meters and was made at Dream Quest Images in Simi Valley California,1999.
Ha! No but the engine section is damaged and blows up in the movie. And I made the damaged engines. 😂
I was doing print work for Vogue. I worked for Diane von Fürstenberg. I was doing print and beauty. And, uh...then... I hated it. I hated it. It was awful. There was all these stupid people and the photographers all had their hands on all the twelve-year-old models. It was disgusting! And so I would only work four days a week. And that was a lot of money. I was making about two-thousand dollars a day back then -- it was in the seventies -- which is a lot of money. For a twenty-seven-year-old, twenty-six-year-old. And one day, I said to... I was like, I only work four days, I can't stand this, I hate it. And then one of my girlfriends said she was doing a movie with Brian De Palma and wanted to know if I wanted to test. To do the make-up. [Shrugging] I was like, yeah, sure. I did the test, I got the job. And that was my first movie. And ever since then, I've been working.
I did... I lived in New York, and I called... I knew The Ramones were doing a movie. So I called up the director for the Ramones movie, and I said, listen, I have to do this movie. And he goes, like, well, send me your book. So I sent him my book, and he calls me back, and he goes, "Your too overqualified. I don't have any money, I can't bring you to California. I would love to have you!" I said, that's okay. I'll get on a plane, I'll find a place to stay, and I did it for two-hundred dollars a week. Rock And Roll High School. And it was AMAZING! [she laughs]
I've just, I've always worked. I did Saturday Night Live. I mean, I've really... I did [the] Tom Ford movie. I've really... I gravitate towards directors. So, I don't like to do personals, really. I don't really like to work with just one actor. I like to do the whole film. I like to work with the directors. When we did A Single Man, Tom Ford came up at the end of the first day, and he said, So what'd you think? And I said, Oh, my God, we made art! He says [mocks seriousness], "Well, I hope we make art every day." And you don't really feel that, when you're working in the film business. A lot. I mean, it's far and few between, I feel very privilidged and lucky and honored that, you know, I've worked with the directors that I've worked with. Because they're not the directors that say, "Yeah, it's fine, let's move on." They're like, "No, let's do it again!"
Just realized I never shared the thing that was THE turning point in musical direction for me from @ledzeppelin type power trios to glam-metal...'74's Phantom of the Paradise! Not a big film in the US but huge in Canada. It changed my world! Thanks Paul Williams & Brian DePalma!
In this special episode, Julian Palmer, the man behind the great video essay channel The Discarded Image, joins Manuela to celebrate their shared birthdays on January 29th and their shared passion for Brian De Palma by talking about his 1984 film about acting, BODY DOUBLE, which gave its name to this podcast! They discuss De Palma's artificiality, his reverence to Hitchcock and Godard, his ingenious casting of Craig Wasson in the lead role, his use of women in his films, and why BODY DOUBLE is Manuela's favourite movie.
We are excited to reveal our poster created by @johnpata! With every every decision made on the film we’ve kept this “modern-vintage” idea in mind and wanted to extend over to our poster. It’s inspired by a lot of our favorite older thrillers like Brian De Palma’s Carrie.In an article at Rue Morgue back in October, Gevargizian included Carrie on her list of six films that influenced The Stylist:
Like Carrie, Claire is a loner, an introvert, awkward, sexually repressed, the list goes on. Remember near the end of the film, when Carrie is walking out of the burning school with a deadpan face – void of all care or concern. The Carrie we knew before is gone. This is someone else. Someone filled with nothing but rage. There’s a sequence in THE STYLIST where I realized Claire was in a very similar headspace. And so I wanted to go the extra mile — within that sequence, we dressed Claire very much like Carrie – in a light pink nightgown. Our costume designer Halley Sharp made all my dreams come true.
I went on a De Palma binge while prepping for THE STYLIST, a lot of them were first-time watches, like Sisters and Blow Out. De Palma’s cinematography and editing style had a huge influence on Robert Patrick Stern (director of photography), John Pata (editor), and my choices.