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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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« October 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
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Bill Pankow
Black Dahlia
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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
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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
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Havana Film Fest
Heat
Hi, Mom!
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Inspired by De Palma
Iraq, etc.
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Key Man, The
Laurent Bouzereau
Lights Out
Lithgow
Magic Hour
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Mod
Montreal World Film Fest
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Murder a la Mod
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Newton 1861
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Palmetto
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Passion
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Print The Legend
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Raising Cain
Red Shoes, The
Redacted
Responsive Eye
Retribution
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Rotwang muß weg!
Sakamoto
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Sisters
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Friday, October 22, 2021
VIDEO - 45-MINUTE PINO DONAGGIO INTERVIEW
SPANISH SUBTITLES FROM ITALIAN - DONAGGIO SINGS A "BONUS TRACK" AT THE END OF THE INTERVIEW


"I only know this," Pino Donaggio says in the video above as he talks about being asked to work on Piranha in 1978. "When Corman saw the movie, he already had music from another composer, from a young man, I don't know. And he said: 'If the movie has stronger music, more importantly, it can make money.' So he asked Joe Dante, do you know any composer that you like? And Dante said: PINO DONAGGIO, because he had seen Carrie." The video comes from the Spanish site TheMovieScores, which features the following description via Google translation:
TheMovieScores exclusive VIDEO INTERVIEW with the great Italian composer, who tells us his story, his beginnings in classical music, his time in pop-rock, and his foray into film music, with his extensive collaboration with the American director BRIAN DE PALMA in films such as Carrie, Blow Out, Dressed to Kill, Body Double, with JOE DANTE in Piranha and The Howling, and also with directors such as Darío Argento, George A. Romero, Pupi Avati, Lucio Fulci, and Tinto Brass, among much others. A very interesting conversation, in which the Venetian master contributed unpublished data, told curious anecdotes and even allowed himself to joke about certain aspects of his prolific career, with more than 200 soundtracks to his credit. A luxury and a pleasure to have had the opportunity to interview PINO DONAGGIO, one of the last sacred monsters of film music of all time. Thanks, Pino !!!!!!

Posted by Geoff at 12:01 AM CDT
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Thursday, October 21, 2021
'BLOW OUT' IS A TOUCHSTONE MOVIE FOR JACOB GENTRY
HIS FILM 'BROADCAST SIGNAL INTRUSION' IS RELEASED TOMORROW
https://www.angelfire.com/de/palma/blowoutthroughglass.jpg

A frame capture (below) from the trailer for Jacob Gentry's 1999-set thriller Broadcast Signal Intrusion reveals a "Mr. Lithgow" in an FBI report. It turns out that Brian De Palma's Blow Out is a definite inspiration, as Gentry tells Gizmodo's Cheryl Eddy:
io9: Broadcast Signal Intrusion has some very noir vibes (the score backs this up) but it’s also very much a mystery thriller about discovering something that most people haven’t noticed. How did you strike that balance in tone?

Gentry: I’m such a lover of noir in my life, and my previous film was very much in the form of a noir movie with those tropes. But for this one, it was really about ‘70s paranoia thrillers, movies which are a descendant of noir in a lot of ways — like Alan J. Pakula’s paranoia trilogy Klute, The Parallax View, and All the President’s Men, and then the other triptych of Blow Up, The Conversation, and Blow Out. Blow Out is a touchstone movie for me, it’s one of my favourite movies. I’m a [Brian] De Palma super fan. So, of course, all those things start to come together. The score, which a lot of people say sounds noirish, is actually — if you listen to some of the Michael Small music from movies like Marathon Man and Parallax View and Klute, it has very much the DNA of those, which I think pulls from the sort of prime period of film noir, and it’s almost an identifier for the audience. There’s this darkness, there’s mystery, but there’s also kind of like a sleaziness. You want to build paranoia, but you also want to kind of give the idea of loneliness and isolation and those sorts of things. Ben Lovett, the composer, obviously does a lot of that heavy lifting.

io9: I definitely thought of Blow Out during the scene where James and Alice (Kelley Mack) are listening closely to one of the tapes, trying to hear the hidden sounds.

Gentry: Yeah, there’s definitely some — I call it “process porn,” and it’s something I love. You know, whether it’s something like John Travolta forensically analysing his sound tapes to discover a conspiracy, or James Caan [in Thief] with the intricate Michael Mann shot process of breaking into a safe. I love watching that if it’s done well and it’s always fun to try to make compelling.

io9: The ending, without giving too much away, dips into a very surreal place, kind of capping off the movie’s slow descent into a world that doesn’t quite feel real. What do you want audiences to take away from that last scene?

Gentry: I think the ultimate reaction, the sort of hope or dream, would be a really good parking lot conversation, or whatever [the equivalent of that would be] if you were to watch it at home and discuss it online. Some of my best moviegoing experiences are when you have a really good discussion about it afterwards and it sticks with you. Even if you don’t like it at first, there’s perhaps things you can discover about it. Some of my favourite movies or movies are ones that I was a little bit conflicted on. We took a lot of inspiration from Zodiac, a movie I was kind of unsure about when I first saw it, or even more recently, something like Under the Silver Lake. My wife and I were coming out of that and it was like, “I don’t think I like that movie,” and then we proceeded to talk about it the entire ride home. You know what I mean?

So that’s really the goal — hopefully it will be compelling and exciting and thrilling and unsettling. But also, if you so choose, there’s interesting things that can be discussed. Some of the most interesting conversations about this movie I’ve heard are when there’s someone who was like, “I hated the end of that movie,” and another person who wanted to defend it. And I couldn’t ask for anything better than that.



Posted by Geoff at 7:57 PM CDT
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Wednesday, October 20, 2021
JEN'S REACTION VIDEO - FIRST VIEW OF 'DRESSED TO KILL'
"OHHH, MY... SHE'S NOT CONCERNED ABOUT STRANGER DANGER"

Posted by Geoff at 11:50 PM CDT
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Tuesday, October 19, 2021
STEPHEN KING ON CARRIE, SISTERS, DUEL, DEMENTIA 13
"I KNEW DE PALMA'S WORK FROM 'SISTERS' AND I THOUGHT, THIS IS THE PERFECT GUY FOR THIS FILM"
https://www.angelfire.com/de/palma/carriepowerposter.jpg

In a video interview posted at Deadline, as part of Mike Fleming Jr.'s "The Film That Lit My Fuse" series, Stephen King talks about being lit by Francis Ford Coppola's Dementia 13 (which, of course, is the movie Brian De Palma had originally wanted Manny to be watching on the TV in his apartment in Blow Out - De Palma ended up having him watch Murder a la Mod instead). King answers several other questions in the 15-minute-long video:
On your way up, what movie or series did you watch that was so good, it made you question whether you could ever rise to that level?

Stephen King: Probably later on, it would have been a film like Duel, where you saw that and you said, I can't do this yet. Okay. That was the Spielberg film where Dennis Weaver was being chased by a psychotic truck driver. You never see the driver at all. There's a little bit of that feeling of Duel in a novel I wrote called Cujo, where I wrote the book, and I said to myself, "This is good, but you're going to make it better. You're going to make it something like Duel, where you don't necessarily have to have a lot of backstory or a lot of motivation. You just want to make it like a brick that hits people in the head." And that's the way that film was. Stripped to the bone.

Whether it was your own work, or approval from someone who mattered to you, what first gave you the confidence that you belonged?

Stephen King:I'm not a movie maker, per se, and that's taken a lot of the pressure off me. You know, Ernest Hemingway once said, the best thing that a writer can hope for is that a studio pays a lot of money for something you wrote, and then never makes the movie. And I never felt that way because I've always felt like you see interesting filmmakers - like when Paul Monash optioned Carrie, and he said he knew a director who had done a number of small films named Brian De Palma. I knew Brian De Palma's work from Sisters, and I thought, "This is the perfect guy for this film." I mean, I've got a film background. I love movies, and I watch a lot to this day. I don't think they make the same sort of impression on anybody that they did when they were young, when they were kids. You never get the kind of scare that you get in Psycho, when the shower curtain goes back and that knife starts to plunge back-and-forth. That never happens again. But you see a lot of filmmakers that you say to yourself, "This is interesting." And then sometimes, somebody will come along who is not part of the film community that you know about. Like Frank Darabont. And you say to yourself, "I want to see what happens." It's curiosity. It's pure curiosity. But as far as making films myself, I've written for film, and that's been an education. And it's an earn-while-you-learn deal. So, little by little I've learned about that end of it. And it's a different job, but I used to look on screen work as work for people who weren't really talented. And when I was able to change my mind about that, I was able to do better work.


Posted by Geoff at 12:01 AM CDT
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Monday, October 18, 2021
SAM IRVIN RECALLS MICHAEL CAINE ON SET IN FULL DRAG
"I ALWAYS KNEW I'D EVENTUALLY GET AROUND TO PLAYING ME MUM"
https://www.angelfire.com/de/palma/samandmichael.jpg

The other day, Michael Caine was said to have announced his "retirement" from acting. "I haven’t retired and not a lot of people know that," Caine tweeted later the same day. Somewhere in between all of that, Sam Irvin posted the photo above on Facebook, with the following caption:
Happy Retirement from Acting to 88-year-old Michael Caine (though I don’t believe a word of it — like Cher’s multiple retirements 😝😘). I had the honor and pleasure of working with Michael in 1979 on DRESSED TO KILL (I was Brian De Palma’s assistant). Here we are at base camp outside Michael’s trailer. When he appeared on the set for the first time in full drag as “Bobbie,” he broke the ice by saying, “I always knew I’d eventually get around to playing me mum.” Total gentleman. Consummate professional. Witty. Pure delight. We all adored him. Good luck to Michael on his new chapter as a bestselling author!

Posted by Geoff at 12:01 AM CDT
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Sunday, October 17, 2021
2-PART INTV - CHRIS SOLDO ON 'LIGHT THE FUSE' PODCAST
FIRST MOVIE WITH DE PALMA WAS 'SISTERS', WHEN HE WAS 15


The Light The Fuse page for the first part of the interview includes the photo below of Chris Soldo (on the right), in front of a board of shots for the tunnel sequence for Mission: Impossible. The photo description mentions that "they added red gels over the shots they completed." This board is mentioned in the episode.


Posted by Geoff at 5:00 PM CDT
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Saturday, October 16, 2021
SEAN PRICE WILLIAMS TO HOST 'PHANTOM' AT THE ROXY
FIRST OF A SERIES; MANHATTAN THEATER ASKED CINEMATOGRAPHER TO CHOOSE FILMS THAT HE LOVES
https://www.angelfire.com/de/palma/seanpricewilliams.jpg

The Roxy Cinema shared this news yesterday:
Sean Price Williams Hosts A Screening of Phantom Of The Paradise in 35MM

Sean Price Williams is one of our favorite working cinematographers today, he is known for shooting movies for The Safdie Brothers, Alex Ross Perry, and Michael Almereyda, but he boasts an impressive list of over 102 credits. Sean also worked as an archivist and cameraman for the Maysles brothers for over a decade. You may have also caught him selling DVD’s at Kims Video in the east village in the early 2000’s. Sean is known for his unique vision and lushness that he brings to film. He is the favorite among many, but the other alluring part of him is his deep love and wealth of knowledge for cinema. He watches more movies than anyone else we know and has impeccable taste. So it naturally only made sense that we would want him to host a series of films he loves. The first one is this Thursday 10/21 at 7 PM. We scored a 35mm print of the Brian De Palma film Phantom Of The Paradise, on his recommendation of course. You can get tickets here

Following the screening will be a Q&A with Sean Price Williams.


Posted by Geoff at 12:01 AM CDT
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Friday, October 15, 2021
PODCAST - AYA VS. THE BIG BOYS DISCUSS 'CARRIE'
WHICH AYA WATCHED FOR THE FIRST TIME AND LOVED
https://www.angelfire.com/de/palma/ayavspodcast.jpg

Aya Vs. The Big Boys - Episode 69 - Carrie (1976)

Posted by Geoff at 7:20 PM CDT
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Thursday, October 14, 2021
PERSPECTIVES - 'CARRIE' - 'GET TO KNOW YOUR RABBIT'
https://www.angelfire.com/de/palma/carrieshopping45.jpg


Posted by Geoff at 12:01 AM CDT
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Wednesday, October 13, 2021
'FRIGHTENING ON A DEEPER LEVEL'
AN INSTAGRAM REVIEW OF 'PHANTOM OF THE PARADISE' BY RYAN A
https://www.angelfire.com/de/palma/phantompanels.jpg

Today on Instagram, Ryan A, aka ryan_spookynerd, posted the image above, along with such an exuberant appreciation for Brian De Palma's Phantom Of The Paradise, it just has to be shared:
While I know I’ve never discussed any direct adaptations of The Phantom of the Opera, I can’t wait much longer to talk about this 70s reimagination. I’ll admit, my only REAL experience with the original is the 50s Universal version, which is pretty but somewhat underwhelming to me. Jumping right to the beast that is De Palma’s version, it makes me so genuinely happy that he came up with this wacky concept for this story, blending genres and classic literature in the dna of this film. This early in his career, De Palma already has already instilled his own subversive eye into film history. Knowing so little about this going in, the opening with the Juicy Fruits’ performance was a fantastic way not only to make me intrigued from the juxtaposition of the promotional material and this upbeat 50s jukebox song, but a fantastic tonal precedent the film immediately decides on. Winslow Leach is our protagonist, a songwriter who is desperate to be heard. We meet Swan, the owner of “The Paradise” an elaborate theater that houses only the most popular artists of the time, portrayed by Paul Williams, who does an outstanding job. Him and William Finley fit the bill perfect for this Faustian Tale, as the two make a deal, not without Winslow becoming disfigured shortly after. As we see Swan pulling the strings to make the paradise follow a course he paves, we see it largely from Winslow’s new and twisted perspective. This lends itself to De Palma’s voyeuristic fascination, as Winslow is as curious about how evil Swan’s plan of intellectual theft is as he is infatuated with how perfect Phoenix (Jessice Harper) can sing his music. And I feel ya Winslow, Jessica Harper is a scene stealer for sure, and I was genuinely surprised to see her in this, and sing as well as she does. Anyway, Swan oversees Winslow’s complete disfigurement, and continues to use his music for his own gain in a foreseeable portrayal. Winslow’s voice and appearance is an awesome exaggeration of his fate, and fits perfectly with the style of this story. The music in this film is fantastic, which is of course pivotal to this kind of story.

It’s well written and is very pleasing to the ear. I’m not sure how involved in the screenwriting process Paul Williams was, but his soundtrack does a damn fine job of marrying Brian’s script. And man, “The Hell of It” is seriously the end credits song to beat. I love all of the horror references in here, from Phantom of the Opera, to Psycho, to The Cabinet of Dr. Caligari, etc, it goes to show how immaculate of a melting pot this story is. Orgies, soft slasher vibes, rock and roll obsession, all De Palma at his zaniest. Scenes of lurid violence are rather elegant, with beautiful settings like a rainy window, and bursts of color like the paint-red blood. The production design is my favorite part of this film, it has some of the most gorgeous sets ever put to film in my opinion. Jack Fisk’s eye for the aesthetic of Phantom of the Paradise is near unmatched, and the set dressing was done by Sissy Spacek. It’s consistently spooky, but retains it’s all out climactic insanity until the very end, where all hell breaks loose, and the sheer loss of control of the Paradise is frightening on a deeper level. This has to be one of the best films of the 70s, one of De Palma’s greatest works, and an absolutely insane ride from start to finish.


And then there was this from Amber Kloss, who attended the Jessica Harper double feature at the New Bev last week:


Posted by Geoff at 12:01 AM CDT
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