De Palma: In your career, you really don't predict how these things happen. I was working on a lot of projects, and they were all tied up, and I couldn't get them launched in that five-year period. The Boston Stranglers was all tied up at Paramount, as was the prequel to The Untouchables. The problem with these movies is that these scripts get a lot of money against them. A guy wrote a script based on an old RKO movie that Mitchum did called [His Kind Of Woman], and I couldn't talk the RKO people into giving me the rights. So there's a lot of frustration with respect to development. So this movie sort of came to me because they wanted to make an American version, and I said, "Great! I can go to Paris and work on this!" That's how it happened.

De Palma: Well, if you have a very good idea… obviously, Treasure Of The Sierra Madre is a fantastic movie. To remake that is a little madness. But I had a very good idea: instead of gold, I was going to make it about cocaine. You get it up there in the mountain it's kind of dealing with dust, but when you get it on the streets of New York it's like solid gold. And not only do you get corrupted because of the money, you get corrupted because of the drug. That gave me a really good idea. I came up with that idea so many years ago it's hard to remember. But it's very difficult to remake a classic movie. We were very fortunate with Scarface. Howard Hawks's Scarface is really good.

Beaks: Whatever happened to your Treasure Of The Sierra Madre?

De Palma: I have no idea. I wrote it so long ago, I don't even remember what I even did with it.

Beaks: I found a copy of the screenplay.

De Palma: You're kidding! I didn't even know there was a copy of the screenplay.

Beaks: I'm always hunting for those scripts of yours that never got made, and a friend of mine tracked this one down.

De Palma: How is it?

Beaks: It's great! I love the twist you put on it. It starts out so much like the original film that I wasn't sure what you were up to, but then it begins to go its own way, and it's really terrific. If you could ever get that together, I'd love to see that movie.

De Palma: Man. I haven't thought that about that in thirty or so years. (Laughs)

Beaks then asks, "Did you design all of your shots ahead of time, or did you allow yourself leeway to invent stuff on the day?"

De Palma responds, "What's interesting about this one is that we had a long time to work on the script as we were preparing production and casting it, and I also had the advantage of the other movie. So I literally laid the whole movie out, every setup and every shot. I had these architectural programs where you could put people in them and move them around. And I could reference the other movie: two women talking to each other from across a desk. I could take a shot from the other movie and put it into my storyboards. 'Oh, that's the scene where Isabelle comes into Christine's office and they talk about A, B and C.' I printed them all out, so I could stack 8x11 printouts on my desk and walk anyone through the whole movie."

Beaks later asks De Palma if the power-struggle-kissing scene between Isabelle and Christine was scripted. De Palma replies, "Absolutely not. The girls did it on the day. When Noomi grabs her and gives her the kiss of death, and Rachel kisses her back leering at Noomi's assistant in the doorway... (Laughs) I would just sit behind the camera and smile. 'My god, these girls are really doing it!' They did a lot of stuff like that. The way she's playing with her in the car. 'I want to be admired! I want to be loved!' She kisses her, and Noomi's like, 'What the hell is going on here?' And Rachel picks up the lipstick and says, 'You need a little color.' (Laughs) It's hilarious!"

In discussing how eroticism in film has changed due to the more explicit nudity shown on cable TV, De Palma mentions the sex tape scene in Passion, saying, "That scene where the guy uses the camera to videotape their making out in the hotel room, I basically just gave them a camera and said, 'Just do whatever you would do.' (Laughs) Believe me, they did some incredible things."

'PHANTOM', DAFT PUNK, & PAUL WILLIAMS
Mr. Beaks also asks about the resurgence of interest in Phantom Of The Paradise, noting Daft Punk's recent collaboration with Paul Williams on the song "Touch". "It's great to be remembered!" De Palma tells Beaks. "I met with Daft Punk in Paris. We talked about Phantom, but it was just a preliminary discussion. I don't know what will come of it. We've always had a stage version we wanted to do, but it's never really come together. I saw the Paul Williams documentary, and thought it was charming."

Read the whole great interview here.

"In Passion, Christine (Rachel McAdams) is a powerful executive while Isabelle (Noomi Rapace) is her hard-working prodigy. In a dog eat dog world, competition is going to get fierce and coworkers are bound to get their toes stepped on if they aren't on top of their game. Things can get nasty real fast if something goes awry. E-vil Emails is the worst of the worst in the workplace: tales of lost tempers, backstabbing, humiliation, and more. While this kind of behavior is surely something to experience On Demand and in theatres, we've created a place where these stories can come to life. We're inviting you to submit your nastiest, most embarrassing, incriminating, and horrible work emails you've ever received or sent. Surely you have some drafts in your inbox consisting of things you wish you could really say to your boss. There must be a time where a coworker threw you under the bus and you just wish you could anonymously vent about it! Don't hesitate, send your e-vil emails our way to evilemails@passionthemovie.com."

(Thanks to Lindsey!)

Meanwhile, in a brief review, Noel Murray at the Los Angeles Times states, "Costars Rachel McAdams and Noomi Rapace start out a little stiff in Passion, and the film as a whole is so flat in its first third that it almost seems as if De Palma is baiting the audience. But then the man who made Dressed to Kill and Body Double shows up, throwing in split screens, over-the-top music cues and an ending that's hysterically nonsensical. All in all, this is De Palma's most playful, enjoyable movie since Femme Fatale."

One of the most interesting parts of the interview comes when Juzwiak delves into the use of the word "camp," which is sometimes used to describe the tone of a De Palma picture:

In some reviews, the word “camp” has been used to describe Passion. I read a really old interview with you, in which Variety's review of Carrie was brought up and that word was also used and you kind of bristled at it. Have your thoughts on this word changed?

I've been through this for so many years, it's hard for me to really pay much attention to it. I have my followers and then I have my detractors. You know, because I have a kind of very distinctive style and a very, cinematic way of approaching things, some people like it and some people don't. And there is not much to convince one side to come over to the other. Sometimes I find that perceptions… we've heard them all before. It sounds like they’re quoting some boiler-plate Brian De Palma, just put you to sleep.

The antagonistic dynamic between women in Passion is something you've long explored on screen. It's interesting that this movie comes at a time when that dynamic is so prevalent on television, specifically on reality TV. What’s the difference between your interest in the topic and what we see on trashy TV?

Women trashing each other reality TV is not something I'm too familiar with, but maybe [Rachel McAdams and Noomi Rapace] are because they really worked it.

They certainly did. There’s a distinct an element of fun in this movie.

Oh yeah! Absolutely. Demonic fun.

No matter how gruesome or serious your movies are, there is usually that element. That’s intentional, right?

It's the famous De Palma cackle I've been reading about for decades.

What do you think about people laughing at unintentionally funny elements of your work? Is that insulting to you as a director?

Well, you can go over the top. You can push something too far. I do very stylized stuff and sometimes it goes too far. In Body Double when, he's embracing her and I'm doing this delirious 360 degree tracking shot around her as they're kissing, the audience started to laugh. It was just too much. I was pushing it too hard.

Do you regret doing that?

You know, Body Double is the kind of movie that people always talked to me about. It got massacred by the critics when it came out, but I can't tell you how many people come up to me to this day and talk to me about Body Double. So who knows… times change.

I think part of appreciating De Palma is appreciating your willingness to go over the top, or to push it almost to the edge where it might over the top.

You're usually criticized against the fashion of the day. But the fashion of the day changes. And works that live on somehow transcend the fashion of the day. A movie that was so attacked, I don't know why everybody remembers it so well.

END OF EXCERPT

De Palma also discusses how he felt when watching Scarface in a theater a few years ago: "It's interesting, I was listening to an interview with Oliver Stone recently at Karlovy Vary, a festival somewhere in the Czech Republic. They showed Scarface and he was reflecting on not seeing it for many years and he had the same reflection that I did: He was amazed by the performances in Scarface. When they showed it at the 30th anniversary—who remembers, whatever anniversary it was—I hadn't looked at it in a movie theater in a long time, I thought, 'These actors are just unbelievable.' And as you've seen [your movies] through your life you have different feelings about them."

Check out the rest of this terrific interview at Gawker.