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 Hello and welcome to the unofficial Brian De Palma website. Here is the latest news: |
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Hello and welcome to the unofficial Brian De Palma website. Here is the latest news: |
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E-mail
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Recent Headlines
a la Mod:
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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De Palma interviewed
in Paris 2002
De Palma discusses
The Black Dahlia 2006
Enthusiasms...
Alfred Hitchcock
The Master Of Suspense
Sergio Leone
and the Infield
Fly Rule
The Filmmaker Who
Came In From The Cold
Jim Emerson on
Greetings & Hi, Mom!
Scarface: Make Way
For The Bad Guy
Deborah Shelton
Official Web Site
Welcome to the
Offices of Death Records
The Criterion Collection posted this photo on its Facebook page today, showing someone holding up a film strip from David Lean's Lawrence Of Arabia. It reminded me of Brian De Palma talking about the formation of the ideas that led to Blow Out. And it seems rather timely, after yesterday's post of audio between De Palma and Noah Baumbach, to post the following link and excerpt from someone who saw and heard Baumbach introduce a screening of Blow Out as part of BAMcinématek's De Palma retrospective in 2011 (it was around this time that De Palma's film was released as part of the Criterion Collection, and included, as one of its bonus features, Baumbach interviewing De Palma about the film).
IndieWire's "Criticwire Classic of the Week", posted earlier today, is Brian De Palma's Blow Out. "John Travolta is presenting at the Oscars this weekend," writes Max O'Connell, "no doubt in an attempt to make fun of that 'Adele Dazeem' slip-up that stopped being funny about a week after it happened. Before he became an irrepressible ham and punchline with questionable taste in scripts, however, Travolta was one of the most exciting stars to emerge in years, and he got the best showcase for his talents in Brian De Palma's masterpiece Blow Out. Mixing the hooks of Antonioni's Blow-Up (murder mystery caught via photograph) and Coppola's The Conversation (murder plot uncovered via sound recording), De Palma made his best film about the power and the limits of film and voyeurism, as well as his most emotionally devastating work." O'Connell writes a bit more about the film, and then includes excerpts from several reviews of Blow Out over the years.
This month, the Trylon microcinema in Minneapolis is running a series called "Masterpieces Of Paranoia" on Mondays and Tuesdays. This week's film is Brian De Palma's Blow Out, which screened last night and tonight (Monday and Tuesday, February 9 & 10) in 35mm. The film will play at 7pm and 9pm. The other films in the series are John Frankenheimer's The Manchurian Candidate (which kicked things off last week), Alan J. Pakula's All The President's Men (Feb. 16 & 17), and Sydney Pollack's Three Days Of The Condor (Feb. 23 & 24).
CROSS-CUT from Drew Morton on Vimeo.
Musician Austin Garrick, who wrote and coproduced the theme song for Nicolas Winding Refn’s Drive, picks his top 10 Criterion releases, posted at Criterion.com, and includes Brian De Palma's Blow Out, which he pairs as a tie at number 5, along with Michael Mann's Thief. Here's what he says about these two films:"I love Thief for being Michael Mann’s incredible feature film debut as well as a blueprint of sorts for a number of films that came after it. It’s the first of my three favorites from him, rounded out by his next two films, the often panned but visually amazing The Keep (again with a great Tangerine Dream score) and Manhunter."
(Thanks to John!)
Intrada this week released a new edition of Pino Donaggio's soundtrack for Brian De Palma's Blow Out. The soundtrack has long been out of print, following an initial release on Prometheus Records in 2002."There were several changes made during postproduction in the use of music and the scenes for which the cues were composed, resulting in many sequences playing in a different order from what was originally intended. For this CD, the sequencing of the music follows the film in its final form. The closing 'End Credits' music has also been included at the beginning of the CD simply to 'bookend' the score.
"For those interested, the following cues comprise the roughly seven minutes of music not included on the surviving master tapes: 'Shower Scene' (M4), played over the closing portion of 'Coed Frenzy Disco,' 'Sally’s Theme' (M7), 'Replay Of Sounds' (M9), 'Burke Changes Tire' (M10), 'Manny’s TV' (M19), 'Watch Wire' (M31), 'Karp’s Hotel' (M44) and a very brief cue simply titled 'Photos Of Sally,' heard right after Jack arrives at Karp’s residence.
"The presence of EQ and reverb on the tapes indicated the composer had already prepared a sound that met with his satisfaction. Although we mastered the 1981 audio using 2014 technology, we have avoided any artificial 'pumping up' of the original, composer-approved sonics. We also kept noise reduction and other sonic alterations to the music down to a minimum. What you hear is pretty much what the composer intended.
"The music speaks for itself."
The CD, which will be "available while quantities and interest remain," can be ordered from Intrada for $19.99 plus shipping. A handful of the tracks can be sampled at the site.
(Thanks to Randy!)