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De Palma a la Mod

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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

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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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« August 2021 »
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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
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Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Untouchables
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Saturday, August 28, 2021
DETAILS - CARLITO'S WAY COLLECTOR'S STEELBOOK
ZAVVI EXCLUSIVE, 32-PAGE BOOKLET, ART CARDS, POSTCARD, 4K ULTRA HD, OCTOBER 25TH
https://www.angelfire.com/de/palma/carlito4ksteelbook1.jpg

Posted by Geoff at 5:14 PM CDT
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Friday, August 27, 2021
'76 EBERT - 'OBSESSION IS AN OVERWROUGHT MELODRAMA'
"AND THAT'S WHAT I LIKE BEST ABOUT IT" - REVIEW PUBLISHED 45 YEARS AGO TODAY
https://www.angelfire.com/de/palma/obsessiondreamhaze.jpg

After opening in New York City in early August of 1976, Brian De Palma's Obsession began to open in more cities in the weeks that followed. In Chicago, Obsession opened 45 years ago this weekend, and Roger Ebert's 3-star review was published in the August 27, 1976 edition of the Chicago Sun-Times - it's archived now at RogerEbert.com:
Brian De Palma's "Obsession" is an overwrought melodrama, and that's what I like best about it. There's no doing this sort of thing halfway, and De Palma knows it: We get gloomy vistas down wet Italian streets, and characters running toward each other in slow motion, and low-angle shots of tombs, and romantic music breaking suddenly into discordant warnings, and -- best of all -- a surprise ending which manages at the same time to be totally implausible and totally satisfying.

The movie opens in New Orleans at a party celebrating a 10th wedding anniversary: Michael and Elizabeth Courtland are still deeply in love, so right away we know they're in trouble. A butler moves through the room with drinks on a tray, and as he walks toward the camera his jacket hitches up and we get a huge close-up of a gun tucked into his belt. There's ominous music on the soundtrack and no wonder -- Michael's wife and daughter are about to be kidnapped.

A ransom note demands $500,000, but Courtland allows himself to be talked into a harebrained scheme by the police. They spike the money with a little radio transmitter and follow the signals back to the house where the kidnappers are holed up. There's a confused escape, the police chase the getaway car, it crashes into a gasoline truck and in the resulting explosion, the wife and daughter are killed. At least that's what Michael Courtland believes for 18 long years, during which he erects an enormous monument in an otherwise empty cemetery.

But then, during a business trip to Italy, he visits the church in Florence where he first met his wife. And there on a scaffold, mixing some paint and helping with a restoration project, is his wife! She looks exactly the same as she did 18 years ago. There is a courtship, a romance, plans for marriage and a return to New Orleans. And then Paul Schrader's screenplay starts a series of incredible double-reverses and shocking revelations, which of course it wouldn't be fair for me to reveal.

The ending, as I've suggested, is totally implausible -- we can think of at least a dozen questions in the last five minutes alone -- but who cares? De Palma and Schrader, and Bernard Herrmann with his beautifully overdone music, and Cliff Robertson and Genevieve Bujold with their mutual obsession, are all playing this material as broadly as possible. This is a 1940s melodrama out of the CBS Radio Mystery Theater by way of a gothic novel. If you want realism, go to another movie.

Material like this needs a certain tone, and De Palma finds it. He starts with two of the most romantically decadent cities on earth (New Orleans and Florence - although Venice would have been better), and then he lets his sound track drip with portentous music and his characters roam through deserted and vaguely menacing locations. The photography, by Vilmos Zsigmond, is darkly, richly sinister: as two men sit talking in a Florentine cafe, the camera changes focus as it sweeps from one to the other so that we're forced to look beyond them into a square and wonder who we'll see there.

Robertson's first visit to the church, in which the camera's deep focus makes him seem to climb those stairs forever, is another nicely disturbing visual moment. And, in a movie that owes a lot to the Hitchcock style, there are a few well-chosen exact quotations from the Master (as when Genevieve Bujold tells the housekeeper: "There's a door upstairs that's locked. Where is the key?" And then . . . well, You know how these things develop.)

The movie's been criticized as implausible and unsubtle, but that's exactly missing the point. Of course the ending is out of a lurid novel, and of course the music edges toward hysteria, and of course Robertson goes from mad to worse (wouldn't you, if you saw a ghost?). I don't just like movies like this; I relish them. Sometimes overwrought excess can be its own reward. If "Obsession" had been even a little more subtle, had made even a little more sense on some boring logical plane, it wouldn't have worked at all.


Posted by Geoff at 8:05 PM CDT
Updated: Friday, August 27, 2021 8:06 PM CDT
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Thursday, August 26, 2021
BETTER COVER ART REVEALED FOR 4k 'CARLITO'S WAY'
TRIED & TRUE WITH NICE VARIATION ON THE ORIGINAL POSTER ART - THE STREET IS WATCHING, OCT 12
https://www.angelfire.com/de/palma/4kcarlitosway.jpg

Previously:
Carlito's Way 4K Blu-ray coming in October

Posted by Geoff at 12:01 AM CDT
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Wednesday, August 25, 2021
FRIGHTFEST FOUNDER RECALLS SEEING THE FURY IN '78
AFTERWARD, SHOCKED TO DISCOVER THAT AMY IRVING WAS SITTING IN FRONT OF HIM
https://www.angelfire.com/de/palma/closemyeyes0.jpg

Alan Jones, co-director of the London FrightFest Film Festival, tweeted a fun story earlier this month:
Today in 1978 I saw a favourite Brian De Palma, THE FURY, at the Century Preview Theatre. It was at this screening I sat behind Amy Irving, didn't know, raved about her performance, and she turned to me to say thanks. Classic!

In response, Neil Irving tweeted, "Played at the Time Out Film Festival on 22 Sep 1978, before opening at the Leicester Sq Theatre a week later. Here are some Ads..." Irving's tweet included the ads seen above and below in this post. In response to that tweet, this brief exchange followed:
Perpetual room tone: Gate Notting Hill IIRC. Pipe-smoking lunatic in the audience challenged De Palma.

Neil Irving: Yes, it was an 11.15pm screening. That must have been a very late-night Q&A?!

Perpetual room tone: De Palma was ultra-patient with dumb/fawning/rambling "questions" (mine included)



Posted by Geoff at 8:08 PM CDT
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Tuesday, August 24, 2021
SAM IRVIN REMEMBERS MEETING DE NIRO IN 1970
"I'M JUST AN ACTOR, KID. SHELLEY WINTERS IS THE STAR."
https://www.angelfire.com/de/palma/bloodymama.jpg

In a Facebook post today, Sam Irvin tells a story about meeting Robert De Niro in 1970:
When BLOODY MAMA opened at my dad’s Plaza Theater in Asheville, NC, in March 1970, AIP sent a 26-year-old actor who played one of Shelley Winters’ sons in the movie. He drove a vintage 1930’s car like the one in the film. He parked the car out in front of the theater, right under the marquee, for photo ops with the local newspaper and TV station. He signed autographs but nobody knew who he was. At age 13, I said to him, “It’s so cool to have a real-live movie star at my dad’s theater.” He smiled sardonically and said, “I’m just an actor, kid. Shelley Winters is the star.” My father and I took him to lunch and I was riveted as he talked about working for director Roger Corman — whom I idolized for all his Vincent Price / Edgar Allan Poe movies. I wanted to ride off into the sunset with this guy but after lunch, he left me in the dust. Five years later, in 1975, this same guy won an Oscar for Best Supporting Actor in THE GODFATHER: PART II. His name was Robert De Niro.

Note that a month after that Drive-In experience, Hi, Mom! was released in theaters.

Posted by Geoff at 7:34 PM CDT
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Monday, August 23, 2021
DE PALMA RETROSPECTIVE SEPT 4-30 IN FRANCE
AT INSTITUT DE L'IMAGE - NATHAN RERA TO PRESENT 'CASUALTIES OF WAR' ON SEPT. 11
https://www.angelfire.com/de/palma/limagesept2021.jpg

Nathan Réra, whose book about Casualties Of War (Outrages) was released earlier this year, will present a screening of that film at L'Institut de l'image on September 11, which is Brian De Palma's birthday. The screening will be part of a 13-film De Palma retrospective at L'Institut de l'image, which runs from September 4th through the 30th. Two more special presentations will happen on the opening day of the series: Guy Astic, director of editions Rouge Profond (which published Outrages), will presnt De Palma's Carrie, and Jean-Michel Durafour, author of the book Brian De Palma - Effusions: blood, perception, theory, will present De Palma's similarly-'70s Carlito's Way. Here's a Google-assisted translation of the description of the series:
Among the great American film-lovers of his generation (Scorsese, Coppola, Spielberg…), Brian De Palma is the one whose relationship to image is the most complex. Working from pre-existing images to create his own, he himself has dissected the films of his masters, starting with Hitchcock of course, whose sequences, narratives and motifs (visual, sound, musical) come back tirelessly in his work, like obsessions that haunt him and give it all its depth and originality. Here, the image is more than a simple reference, and the filmmaker never ceases to reaffirm its cogency, its powers, its potentialities (aesthetic, political, moral). The image for De Palma is a source of pleasure, but also of horror. It is vital, but funeral. Luminous, or twilight. Obsession, Phantom of the Paradise, Blow Out, Casualties of War, Carlito's Way, Mission: Impossible ... films populated by ghosts and dead on borrowed time. The hero, in De Palma, is a tightrope walker ready to fall into the void at any moment, like the young Vietnamese girl from Casualties of War, whose tortured body could single-handedly embody the tragic dimension of her cinema. Casualties of War and the representation of the war at De Palma will be at the heart of this retrospective with a day hosted by Nathan Réra, on the occasion of the release at Rouge Profond of his book, "Outrages, from Daniel Lang to Brian De Palma".

Posted by Geoff at 11:34 PM CDT
Updated: Monday, August 23, 2021 11:35 PM CDT
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Sunday, August 22, 2021
KRIVINE ON WRITING CIVIL WAR SERIES 'CLARKSVILLE 1861'
WORKING WITH UNIVERSITY PROFESSOR OF AFRICAN-AMERICAN HISTORY, & HOW DE PALMA GOT INVOLVED
https://www.angelfire.com/de/palma/depalmakrivine.jpg

At Le Monde, Frédéric Krivine tells Laurent Carpentier and Aureliano Tonet about contacting Brian De Palma when he heard De Palma and Susan Lehman mention that their favorite French TV program was A French Village, and how he has been working to adapt his series for U.S. television:
Are Snakes Necessary? When filmmaker Brian De Palma arrived in Paris in 2018 to promote this noir novel written with his co-author and companion, Susan Lehman, the couple slipped a confidence to AFP: "Our favorite TV program? A French Village!" Frédéric Krivine, the creator of this series broadcast on French Televisions from 2009 to 2017, leaps from his chair. He has a project in his boxes. "If Régine Deforges could have done this crap with The Blue Bicycle, which during the Occupation transposed a history of the Civil War, I told myself that we could do the same in the opposite direction ..." From one national trauma to another, there are indeed similarities: comparable durations, torn families… “I sent a five-page note to De Palma. Half an hour later, I had an answer. He engaged directly."

So here is A French Village, which has sold in 65 countries, being adapted both in Spain at the time of the civil war, in the Italy of the Republic of Salo (September 1943 - April 1945 ), and in the United States… “Great filmmakers rarely make pale copies, reassures Frédéric Krivine, who watches over his baby. Personally, I prefer The Magnificent Seven to the Seven Samurai. "In terms of remakes, De Palma is a kind of specialist: Passion (2012), Mission: Impossible (1996) and, of course, Scarface (1983) ..." I saw the original, continues Krivine, that of Howard Hawks: It's another movie."

Round trips
Attractive poster, project in progress, but nothing is won. "The United States is complicated," sighs Frédéric Krivine. He has already written the pilot, christened Clarksville 1861, named after an imaginary small town in Kentucky, a state cut in two during the Civil War. "To write a series about this period is to put the racial question at the center. From here, we do not realize how in the United States nothing is settled. And how narrow is the path whenever fiction is harnessed."

The adaptation highlights the cultural differences, the moral values ​​that prevail from one country to another, from one era to another.

As a consultant, the Frenchman sought out Sundiata Cha-Jua, professor of African-American history at the University of Illinois. “Without him, there is little chance that the series will happen. We go back and forth. We get along very well, but he keeps telling me that I think like a white man, that I write like a white man, that I understand absolutely nothing about slavery… We'll see. Either way, Clarksville 1861 will only happen if there is a prominent black figure who supports the project. In the United States, you need an Oprah Winfrey or the Obamas, who are consultants at Netflix, to validate your project… ”


Previously:
De Palma developing Civil War series Newton 1861

Posted by Geoff at 10:45 PM CDT
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Thursday, August 19, 2021
'PHANTOM' IN PHILADELPHIA OCT 6, WITH ARI KAHAN
SWAN ARCHIVES - "A VERY SPECIAL SCREENING OF OUR FAVORITE FILM"
https://www.angelfire.com/de/palma/winslowhappens.jpg

From The Swan Archives News Page yesterday:
Our Principal Archivist, in collaboration with Exhumed Films and PhilaMoca, will be presenting what we promise will be a very special screening of our favorite film in Philadelphia at The Philadelphia Mausoleum of Contemporary Art, on October 6. We expect this event will sell out, so get on it! Tickets and info here.

And here's the description at the eventbrite ticket page:
PHANTOM OF THE PARADISE with the Swan Archives’ Principal Archivist, Ari Kahan!

About this event

Nearly fifty years after its release, Brian DePalma’s bizarre 1974 horror rock opera Phantom of the Paradise stands as one of the most beloved and joyous films in the realm of genre cinema. Join Exhumed Films and PhilaMoca for a very special screening of the cult classic, introduced by Ari Kahan! Kahan is co-producer of the acclaimed documentary Phantom of Winnipeg and curator of The Swan Archives, an extensive online resource devoted to the tragic tale of doomed musician Winslow Leach and his nemesis, the mysterious impresario known only as Swan. Ari will introduce a rare and unique screening of the movie, after which we promise you will never look at Phantom of the Paradise quite the same way again!

PhilaMOCA currently requires proof of vaccination and masks.


Posted by Geoff at 12:38 AM CDT
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Wednesday, August 18, 2021
AROUND THE COFFEE TABLE IN DE PALMA'S APARTMENT
REHEARSING 'CARRIE' IN 1976 - NOTE THE CASSETTE TAPE RECORDERS ON THE COFFEE TABLE
https://www.angelfire.com/de/palma/taperecorderscarrie.jpg

William Katt, talking to Legal News' Kurt Anthony Krug in 2018:
“For two weeks, we worked at [De Palma’s] apartment in Hollywood. I remember [Travolta, Allen, Irving, Spacek, and myself] would all go there and work. At the time, we were using a reel-to-reel tape-recorder because video had not yet come about,” said Katt.

“Brian’s entire apartment was filled with these 3-by-5 cards with all the scenes on them. He would get up periodically and move cards around for his shot list and what not. It was a fun experience. He really sculpted those scenes to fit the actors he was working with. By the time we’d got to the set… he was really all about the camera and the components of filmmaking. I just thought he was a terrific director.”


P.J. Soles, talking to Vulture's Patti Greco in 2013:
After that George Lucas/Brian De Palma casting session, we had three more casting sessions that pretty much everyone who ended up in the movie went to. It was three weekends in a row at Brian’s apartment. We all sat around the coffee table; we all took turns reading the script from beginning to end, and his dining room had storyboards of practically every scene of the movie. I thought, Wow. He was so invested in this film. And Sissy was never there. I think Amy Irving was up for the role of Carrie [at that point]. She was the one who got Sue. And I think Nancy was up for Sue but then she got Chris Hargensen and I was up for Chris but I got Norma. So it was very interesting.

Posted by Geoff at 7:55 PM CDT
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Wednesday, August 11, 2021
SOUND PERSPECTIVES IN 'BLOW OUT'
TWO SETS OF FRAMES, BETWEEN JACK & BURKE, AND SALLY IN THE MIDDLE
https://www.angelfire.com/de/palma/pinpoint55a.jpg


Posted by Geoff at 3:13 PM CDT
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