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From the stage at the Intercontinental Los Angeles Downtown, an admittedly nervous Costner – who’s worked with Random on his directorial efforts including The Postman – recounted the critical impact she had when he was an extra on the 1981 film Frances, on which Random served as art director.
“For six years I’d been trying to break into Hollywood, and despite all my best efforts, I was just unable to get a SAG card,” said Costner, who had a minute appearance in a scene set in an alleyway outside a theater where actress Frances Farmer, played by Jessica Lange, was exiting after appearing in the play Golden Boy.
“I’m singled out among the extras by casting director Elisabeth Leustig, who would later go on to become my casting director on Dances with Wolves,” he continued. “She walked me up to Ida, who I couldn’t help but notice on the set having been there for three days. She [Ida] was really Annie Hall before there was Annie Hall, if you know what I mean. She always seemed to be around the camera and without notice, she would move into the set as if no one was watching, pick up a book and move it. In fact, she would pick up anything – lamps, ashtrays, pictures…Anything that seemed to be bothering her she would just move it, maybe inches.”
“Suddenly I find myself standing in front of her, and she’s looking at me, and it’s safe to say that I had gone from thinking she might be in trouble [for moving things] to now wondering if I was,” Costner explained. “She looked at me in a very real way, and I don’t know how else to describe it. I had no idea what I had done or what she was looking for…What she couldn’t have possibly known as I waited for her to speak was how shamefully desperate I was to be seen as an actor.
“After a long moment – an Ida Random moment, you’d have have to see one to know one – she turned to Elizabeth said ‘This works.’” Because he fit in Random’s aesthetic vision for the scene, Costner got to deliver a single line – “Goodnight, Frances” – “and it would change the trajectory of my career.”
As he told the story, Costner choked up, and attendees were caught up in his emotional moment.
“I’ll never forget you, Ida,” he said. “You changed my life that night.”
He continued, “That’s what Ida does: She changes lives. She makes things better, sometimes by inches…She’s the director’s best friend and confidant. She’s the actor’s biggest cheerleader as she walks them through her perfect sets…You’re a filmmaker in every sense of the word, adding your most personal touch to the movies you call your paintings.”
This is kind of hard to believe, but The Untouchables turns 35 this year. That was your big breakout role, and you’ve done so much great work since then. How do you view the legacy of that film?
People dig it. People dig that movie and it holds up really well. Some movies you do, then you revisit them and you go “Eh,” but this movie holds up so well, it’s such a great film for all the reasons you know. The script by David Mamet, the execution by Brian De Palma, and then all the wardrobe, the actors that are in it. Ennio Morricone’s work and the scores, all the elements in this movie really, really hold up to a great film forever, really. So I was honored to be a part of it. It was a privilege.
You talked about the great actors. Being that young, and being around so many huge stars. Was it a bit intimidating when you were filming that?
I did most of my work with The Untouchables with [Sean] Connery. [Robert] De Niro was obviously [Al] Capone, but I didn’t have, other than scenes in the courtroom, we didn’t really have the opportunity to interact that way. But Connery, I worked with all the time. Of course, he was a hero of mine growing up in the sixties. He was James Bond. He was the hero of our times, and so getting a chance to work with him was a great honor. I wouldn’t say the word “intimidated” because that’s my job. You’re coming there, you got to take care of your character. You got to take care of what you’re there to deliver. But I was extremely, obviously respectful and enjoying the proximity to someone that when you’re young, you’re in awe of. You’re so inspired by. But once you start working, once you start working he’s [Jim] Malone and I’m [George] Stone and all that disappears in a sense, you know?
Brian De Palma’s satirical thriller brought his entire arsenal of Hitchcockian effects to bear on a decade of American misadventures, referencing the conspiratorial mood surrounding Chappaquiddick and Watergate, and the feeling that country was held hostage by the elite. It’s also one of the great movies about the movies, casting John Travolta as the sound editor for Z-grade slashers who witnesses (and records) a car crash involving a major political figure and a prostitute (Nancy Allen). Like Blowup and The Conversation, the two films that inspired it, Blow Out posits the idea that the painstaking construction of a truth that could be deceptive, dangerous, or all of the above. But as the fireworks of Philadelphia’s Liberty Day celebration pop off and the screams of ordinary people go unheard. the scary part is that it might not matter at all.
“Say hello to my little friend!” Brian De Palma’s controversial remake of Howard Hawks’ 1932 mobster movie hands Al Pacino a license to kill and chew abundant amounts of scenery, and not necessarily in that order. It’s been embraced by an entire generation of fans and a good portion of the hip-hop community for it’s over-the-top portrayal of the aspirational gangster life, from the copious amounts of commodified cocaine to its garish portrayal of Miami’s good life — the name “Tony Montana” is now synonymous with kingpin panache, yayo-fueled luxury, and bootleg bootstrap-capitalism. Even without the quotable lines every few minutes (“All I got in this world is my word and my balls, and I don’t break ’em for no one!”), it’s a memorable update of the old chestnut about crime paying off handsomely before the inevitable fall, ’80s style.
A poster for Brian De Palma's Carrie appeared way back in episode two of season one, on the apartment wall of a character named Tyler, who gets an unexpected (and unwelcomed) visit from Nate:
That same episode featured a poster from another De Palma film, Scarface, on the wall of the drug dealer Fezco:
Episode four of season one found Levinson staging a carnival in which all of the series' main characters attend in one form or another, with a bit of a Bates High/prom-like tension to the various proceedings. That same episode ends with Rue and Jules on a bed that rotates into flashes of their relationship, set to a Pino Donaggio cue from Nicolas Roeg's Don't Look Now, "Laura's Theme". IndieWire's Steve Greene mentioned it in an article from 2020 about the music in Euphoria, for which he talked with Labrinth, who composes music for each episode, and music supervisor Jen Malone:
Finding that synergistic energy between music and picture doesn’t happen by accident. The shifting nature of TV refinement meant that it was never one clear-cut task after another. Labrinth said work on the carnival sequence came while he was juggling 20 other cues. Clearing part of Pino Donaggio’s score from “Don’t Look Now” for the show’s breathtaking rotating bed scene meant that Malone had to make calls to Italy in the middle of the night on a 48-hour deadline.
Tonight, the philm_philes watched Phantom Of The Paradise -- here are their reactions:
Joshua: on paper, there was almost a zero percent chance I was gunna dig this movie. Turns out I’m very thankful movies aren’t paper. What a ride! Why does no one talk about this movie?!??! And De Palma’s directing MAKES this film.
Hayley: THIS MOVIE RULES! It’s as if Phantom of the Opera and Rocky Horror made a baby on acid.
We love Kenny Caperton. He’s the Halloween fan who built and lives in a replica of the Myers House, as covered in FANGORIA v2, #1. Kenny is our kind of cinephile; he not only walks the walk, he lives the life. In the damn Myers House. Respect.
One would think that amount of dedication would scratch any horror location fan’s itch for good, but not Kenny. Kenny has, for the last couple of years, curated a traveling film screening series called On Set Cinema, and its premise is simple: you watch a classic horror movie at the location where it was filmed. From Friday the 13th to Rocky Horror to Twilight and beyond, Kenny hosts amazing fan events where you can enjoy a movie with fellow fans in the environs where it all happened.
And this summer, Kenny wants to ask you to prom. Carrie White’s prom, to be specific.
On July 30th, fans will gather at the Hermosa Beach Community Center Gym to pose for prom photos, compete in a costume contest, and watch the 1976 Brian De Palma classic Carrie with Tommy Ross himself, William Katt!
SATURDAY, JULY 30, 2022: CARRIE (1976)
WITH SPECIAL GUEST WILLIAM KATT (TOMMY ROSS)
Hermosa Beach, California • Bates High School Gymnasium
On Set Cinema cordially invites you to be our date to the Bates High School “Love Among The Stars” senior prom! Cover up those dirty pillows and head with us to Hermosa Beach, California on Saturday, July 30, 2022 for a very special screening event of one of the greatest movies in horror film history ...CARRIE! And I'm excited to announce that everyone's favorite prom king, Tommy Ross (William Katt) will be a special guest at this event! He will be signing autographs, taking prom photos with fans and doing a Q&A before the screening. I'll be showing the film inside the actual gymnasium from the movie! So many great scenes were filmed here - including where Miss Collins (Betty Buckley) gets the girls to line up after they humiliate Carrie in the girl's locker room and tells them about her detention deal, also where Carrie (Sissy Spacek) tells Miss Collins outside that she was invited to the prom and of course where the infamous prom takes places! Just the exteriors of the prom were filmed at this location - the interior was a massive set constructed for safety reasons because of all of the fire special effects, but this is where the iconic shot of Carrie covered in blood, walking from the burning gymnasium takes place! There will be music, silver stars, streamers, dancing, a prom photo backdrop with a blood bucket, a King & Queen costume contest and a glorious screening of Brian De Palma’s cinematic adaptation of Stephen King’s groundbreaking first ever published novel, CARRIE! Fans are encouraged to dress up for the prom or in costume as your favorite character from the movie, but of course it's not required to attend. This is going to be an absolutely unforgettable experience for Carrie fans! ...here piggy piggy.
• Location: Hermosa Beach Community Center Gym - 710 Pier Ave, Hermosa Beach, CA 90254
• Date / Time: Saturday, July 30, 2022
- 5:00pm: Event check-in starts
- 5:00pm - 7:00pm: Music, dancing, prom photos
- 5:00pm - 7:00pm: William Katt autograph signing and meet & greet with fans
- 7:00pm: William Katt Q&A
- 7:30pm: King & Queen costume contest (winners get prizes, including William Katt signed item)
- 8:00pm: Screening of “CARRIE” (1976, Rated R - 1h 38m)
• Facebook event page / IMDb / Movie trailer
• Admission: $50.00 *** CLICK HERE TO PURCHASE TICKETS ***
WILLIAM KATT PRICING:
- AUTOGRAPH & SELFIE COMBO: $40 - 1 autograph (your item or his item) from William, 1 photograph (your camera) with William at table
- $40 for each additional autograph - you can get as many as you want!
- PROM BACKDROP PICTURE WITH WILLAIM (YOUR CAMERA): $25