The above poster by Stephen Romano imagines an R-rated sequel to Brian De Palma's Phantom Of The Paradise. This is the 13th poster in Romano's "RETRO 13" series. "You’re going to see thirteen all-new movie posters," Romano wrote on Dread Central last March, "done in the exact style of the eras they represent, complete with fold marks and aging, and it will be the MOST authentic series like this ever created."

Here is Romano's introduction/description of the new poster from Dread Central:

Herschmann: How did the diary of Conrad, Isabelle’s youngest son, take shape – a multilayered compilation of a young boy’s mindset and perception?

Trier: We had to write it and then write it again and again and again during editing; it was like making a feature film, that diary. We have many versions of it and I’m very happy with the one we used. We even have the clip from Opera by Dario Argento in it. One of our producers is Italian and knows Dario Argento and we got that through him. We wanted to get different elements of different cultural expressions into the diary. We tried to find poetry in the truth of the character. I love the film Kes by Ken Loach. My favourite moment in that film – the one where I always cry – is when the kid, who doesn’t know how to express himself, is suddenly asked by his teacher to talk for the first time and tell them how he takes care of his bird – he knows the boy is with this bird all day. And the kid speaks for the first time and talks freely about who he is. That’s not exactly what we’re doing, but I wanted Conrad’s diary to be a revelation of the discrepancy between his social inability and his inner life, which is so rich.

It is not only a written text in the film, but presented in a very visual way, as a montage of imagery. You used a similar technique in Oslo, August 31st and they both work very well. How did you become interested in this form of expression?

I went to the National Film and Television School in London, we called it National Social Realist Film and TV School. Steven Frears was a teacher there and Mike Leigh, people that I now admire tremendously for their skills in drama, but at the time I was really into Antonioni, Alain Resnais and Brian De Palma. I wanted montage and the break of the image and the form to be really at the essence of what I did, and I think I changed. Also by going to that school, I discovered Ken Loach and the fact that, in the middle of social realism, there is poetry and truth and not only social commentary hitting you on the head. In the best of these films there’s something more that transcends. However, I still have one foot in that kind of formalism. Showing thought patterns in cinema through montage I find very interesting. And it’s been appropriated by commercials, but I always try to show that it could be more expressive and, ideally, more complex.

What do you mean by thought patterns?

The train of thought. How people think. The structuring of thought, which I think is the temporal experience of images on the screen. We always talk about stories, because it’s a literary term and it’s very easy to say, but the fact is we’re watching images in time and they either correlate or don’t with our sensomotoric thought patterns. And it sounds very technical, but I feel it’s a fact, you’re actually dealing with theme and image when you make a movie, all the time. It can be quick or slow: how do you pace the information? Is it possible to express, to show thinking literally, the association chain of a young boy thinking randomly about his life? Yeah, let’s try. That’s what I mean with thought pattern.

There are a lot of memories in the film, a lot of dreams…

That’s what we constitute our identity on, these frail things that we believe are truths about ourselves and that’s very scary and also liberating. AndI feel the film is very much about that: the questioning of identities.

Noisey: What are some other films and/or filmmakers that have soundtracks that particularly inspire you?
Refn: There are a couple of films that define the combination of music and images. The greatest achievement in that collaboration is, of course, Once Upon a Time in the West. That is the most consequential, orgasmic arena of music and images. That’s where it’s like, ‘Fuck. How the hell do you do that.’ And then you have Battle of Algiers by Gillo Pontecorvo and Ennio Morricone. There’s Psycho with Alfred Hitchcock and Bernard Herrmann and, even though North by Northwest, Rear Window, and Vertigo have better soundtracks, Psycho is really where it comes together in a different way. Of course you have Fellini and a lot of Dario Argento’s early films, especially his work with Goblin. Suspiria is wonderful. You also have, of course, Martin Scorsese’s ability to use music in his films. I remember when I saw Mean Streets when I was nine years old, and I still remember the scene when Robert DeNiro walks in to “Jumpin’ Jack Flash” (Rolling Stones), and being like, ‘fucking hell, now I know how it works.’

Noisey: Absolutely, Scorsese kind of transformed the use of pop music in cinema.
Refn: Yea, it’s unique but you know what is weird, for everyone (whether it is Kubrick or Scorsese, or even like the work that Pino Donaggio did with Brian De Palma — and of course, we are not even touching the whole Asian world. All of the Japanese filmmakers that use composers well) all lead back to one movie…Scorpio Rising by Kenneth Anger. That was the first time that a filmmaker would use pop music of its time to underscore the emotion with the images. Its very interesting that it all leads back to that film.

"In 1980, after weeks of negotiation, 100,000 Cubans were permitted to seek exile in the United States. Fidel Castro allowed them to go to the port of the town of Mariel and embark for Florida.

“It has been said that the Comandante took advantage of the situation by emptying the prisons. It is completely true: I saw him selecting them personally. I was present when they brought him lists of prisoners with the name, the reason for the sentence, and the date of release.

“Fidel read them and with a stroke of a pen designated which ones could go and which ones could stay — ‘yes’ was for murderers and dangerous criminals, ‘no’ was for those who attacked the revolution. In total, more than 2,000 criminals found themselves free…in the streets of Miami.”

"'Antipasto,' the premiere of Hannibal’s third season (directed by Vincenzo Natali and written by Bryan Fuller & Steve Lightfoot) is arguably the series’ most stylish installment yet. Though Hannibal is regularly a pageant of hypnotic, high fashion horror, its move out of the harsher seasons of the Mid-Atlantic to the wealth and fine arts appreciation of Europe would necessitate it even further. The sensual cinema of Peter Greenaway, De Palma, Bertolucci, Roeg, Peter Strickland—maybe even fucking travel ads—swirl through the streets, the suits, the dresses, the cuisine, the lectures, the wallpaper and yes, the bloodshed."

This past January, a Dressed To Kill action figure of Bobbi was created by Retroband and Gabe Hernandez, at the request of Hannibal series creator Bryan Fuller.

See also previous posts/tweets:

Matt Zoller Seitz: "Dear @NBCHannibal producers: Just go ahead and bring in Brian De Palma next season. You know you want to."

TWEETS: May 16, 2014 Episode of Hannibal brings De Palma to mind for several viewers