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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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« March 2022 »
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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

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italkyoubored

Icebox Movies

Medfly Quarantine

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Hope Lies at
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Motion Pictures Comics

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So Why This Movie?

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Nothing Is Written

Ferdy on Films

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This Recording

Mike's Movie Guide

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Dangerous Minds

EatSleepLiveFilm

No Time For
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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.
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Wednesday, March 9, 2022
KARINA LONGWORTH PODCAST DIVES INTO 'EROTIC 80s'
AND INTO THE 'EROTIC 90s' - DE PALMA & OTHERS DISCUSSED ON NEW SEASON OF 'YOU MUST REMEMBER THIS'
https://www.angelfire.com/de/palma/dtkmedium1.jpg

The Hollywood Reporter's Mia Galuppo reports that the new season of Karina Longworth's podcast You Must Remember This, premiering April 5, will discuss erotic films of the 1980s and 1990s, with each episode devoted to one year:
Longworth spent much of the early COVID-19 pandemic watching movies from these two decades, telling The Hollywood Reporter, “One thing that became clear to me is that the world has changed in many ways that are very evident in cinema.” Racism, sexism and homophobia were far more prevalent in these movies, says Longworth, but “at the same time, there was this sense that a lot of really big, hit movies — that reflected the culture — dealt with people’s sex lives in a way that movies don’t do anymore, at least Hollywood movies. I wanted to try to figure out why that was.”

The season will be split into two parts, with “Erotic 80s” set to premiere on April 5. The second part — “Erotic 90s” — will premiere in the fall. Episodes will focus on erotic thrillers, body horrors, neo-noirs and sex comedies, and tackle the fall of the MPAA’s production code and the brief legitimacy of the X-rated movie, among other touchstones.

Some films discussed in the season will be American Gigolo, Fast Times at Ridgemont High, Fatal Attraction, as well as works from Steven Soderbergh and Brian De Palma, among others. Each episode will focus on one year, discussing movies and stars, with the season culminating in the year 1999, focusing on Stanley Kubrick’s Eyes Wide Shut.

Longworth says that, while the pandemic has kept her traditional avenues of research like the Academy’s film archives shuttered, she turned to vintage magazines as source materials. “I am reading this vintage issues of People or Playboy, Us Weekly, GQ, Vogue, and seeing how different stars and filmmakers are being presented through the media,” says Longworth. She was particularly surprised to see the anger that surrounded the release of Flashdance, from critics to industry execs.

You Must Remember This, which won a 2021 iHeartRadio podcast award, is presented in partnership with podcast studio Cadence13. Recent seasons have focused on gossip columnists Louella Parsons and Hedda Hopper, and the lives and careers of Sammy Davis Jr. and Dean Martin.

“I don’t want anybody to be turned off because this season is so recent compared to talking about the ’30s, ’40s and ’50s,” notes Longworth. “What I am trying to do is put the ’80s and ’90s in the context of 20th century Hollywood and talk about the things that happened in the ’20s and the ’30s have a direct relationship to these movies.” The host surmises: “I am always excited to get people to watch movies that they maybe wouldn’t have watched otherwise or to look at movies that they think they know in a different way.”


Posted by Geoff at 11:17 PM CST
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Tuesday, March 8, 2022
DE PALMA'S 'MISSION IMPOSSIBLE' REFERENCED AT NY TIMES
(Thanks to Chris!)
https://www.angelfire.com/de/palma/macsecure.jpg

Posted by Geoff at 7:09 PM CST
Updated: Wednesday, March 9, 2022 8:04 AM CST
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Monday, March 7, 2022
IDA RANDOM -FROM SUSAN DWORKIN'S 'DOUBLE DE PALMA'
'BODY DOUBLE' PRODUCTION DESIGNER RECEIVED LIFETIME ACHIEVEMENT AWARD FROM ART DIRECTORS GUILD SATURDAY
https://www.angelfire.com/de/palma/brianandida.jpg

Ida Random, the production designer on Body Double, received a Lifetime Achievement Award this past Saturday from the Art Directors Guild. The award was presented to her by Kevin Costner. Deadline's Scott Huver reports that Costner's tribute "included the revelation that he might not have an an acting career without her intervention." Huver continues:
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.”


With this, it seems like a good time to post this excerpt, highlighting Ida Random, from Susan Dworkin's 1984 book Double De Palma. The photo at the top of this post, taken by Ralph Nelson, comes from Dworkin's book, as well.


Posted by Geoff at 10:36 PM CST
Updated: Wednesday, March 9, 2022 8:06 AM CST
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Friday, March 4, 2022
'PEOPLE DIG IT' - ANDY GARCIA ON 'THE UNTOUCHABLES'
"PEOPLE DIG THAT MOVIE AND IT HOLDS UP REALLY WELL"
https://www.angelfire.com/de/palma/stonepram3.jpg

While promoting the new movie Big Gold Brick, Andy Garcia was asked by ComingSoon.net's Tyler Treese about The Untouchables:
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?


Posted by Geoff at 12:55 AM CST
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Thursday, March 3, 2022
'THE FURY' DIGITAL SOUNDTRACK RELEASED BY RCA
JOHN WILLIAMS' MAIN THEME NOW ALSO MENTIONS "HBO'S EUPHORIA" IN THE DIGITAL TITLE
https://www.angelfire.com/de/palma/rcafury.jpg

Following this week's season two finale of Euphoria, RCA Records has released a digital version of John Williams' soundtrack music from Brian De Palma's The Fury, according to Film Music Reporter. This new edition mentions "HBO's Euphoria" in the title of the opening track, now streaming just about everywhere.

Previously:
Euphoria taps John Williams' Theme from The Fury
Sam Levinson's Euphoria keeps De Palma vibes in its feverish mix


Posted by Geoff at 7:47 PM CST
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Wednesday, March 2, 2022
'BLOW OUT' #20 ON ROLLING STONE'S '80s MOVIE LIST
'SCARFACE' RANKS #96
https://www.angelfire.com/de/palma/blowoutconspiracy265.jpg

Today, Rolling Stone posted its list of "The 100 Greatest Movies of the 1980s." Two Brian De Palma films made the list, at very far ends of the spectrum: at #20, it's Blow Out, with a paragraph about it by Scott Tobias:
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.

Coming in at #96 is Scarface, with a paragraph from David Fear:
“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.

(Thanks to Brian!)

Posted by Geoff at 12:01 AM CST
Updated: Thursday, March 3, 2022 12:11 AM CST
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Monday, February 28, 2022
'FEMME FATALE' BLU-RAY FROM SHOUT! FACTORY - MAY 17
NO OTHER DETAILS YET, BUT PRE-ORDER PAGE IS ACTIVE
https://www.angelfire.com/de/palma/ffshoutfactory.jpg

Posted by Geoff at 12:08 AM CST
Updated: Monday, February 28, 2022 5:57 PM CST
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Sunday, February 27, 2022
EUPHORIA TAPS JOHN WILLIAMS' THEME FROM 'THE FURY'
TO PUT A STAMP ON THE INTRO TO TONIGHT'S SEASON FINALE
https://www.angelfire.com/de/palma/phury1.jpg


Posted by Geoff at 11:43 PM CST
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'WE'RE ALL VERY SORRY, CASSIE'
SAM LEVINSON'S 'EUPHORIA' DEFINITELY KEEPS DE PALMA VIBES IN ITS FEVERISH MIX
https://www.angelfire.com/de/palma/euphoriacassie45.jpg

Tonight is the season two finale of HBO's Euphoria. Each episode this season has been directed by Sam Levinson, who has also written or co-written the entire series so far (and also directed most of season one, as well). Last week's episode (episode 7) ended with the image above as its final shot, before a "To Be Continued..." was added to the right of the shocked face of Cassie, her eyes wide, looking into the school theater as she breathes, audibly, onto the window of the door in front of her. A Sissy Spacek-as-Carrie vibe is unmistakable, as viewers have just seen Cassie subjected to what she surely feels is the most shocking rejection she could possibly experience at the moment, and she turns her attention to the person she holds responsible.

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.

Meanwhile, that Scarface poster has continued to show up throughout season two:

Previously
Reviews of Sam Levinson's Assassination Nation mention De Palma's Scarface and Blow Out

See also:
Euphoria stamps its intro to Season 2 finale with John Williams' theme from The Fury
After appearing in Euphoria, RCA Records releases digital soundtrack from The Fury


Posted by Geoff at 8:31 PM CST
Updated: Sunday, March 6, 2022 12:59 PM CST
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Wednesday, February 23, 2022
PHILM PHILES FLIP FOR 'PHANTOM'
"WHY DOES NO ONE TALK ABOUT THIS MOVIE?!??!"
https://www.angelfire.com/de/palma/rewritingfaust75.jpg

"We pull directors names out of a bag & watch their films chronologically." So reads the bio/description on the Instagram page of philm_philes, aka Hayley & Joshua. Last week, Hayley and Joshua began watching Brian De Palma's films, chronologically, beginning with Murder a la Mod. "It’s not a great film by any stretch of the word," Hayley wrote of Murder a la Mod, "but there’s plenty of imagination, blossoming skills, and some unexpected twist and turns, and at the beginning of a career that’s what matters." When the philm_philes got to The Wedding Party a couple of days later, they acknowledged that the latter is De Palma's first feature film. "The movie hit me like a ton of bricks," Joshua said of The Wedding Party two days ago. "I thought it was hilarious and unbelievably well made (especially considering this is technically De Palmas first movie). The dialog, editing, pacing and absolutely enthralling choices made by background actors you may see once for 20 seconds help deepen for me what would otherwise be a pedestrian take on young men and their loose grasp on commitment."

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.


Posted by Geoff at 11:45 PM CST
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