Kilday writes that after watching De Palma, Jones was persuaded to revisit sevveral of De Palma's films. "My sons and I looked at them together, and we were all absolutely stunned," Jones said to Kilday. "He was and is a great filmmaker, end of story."

Publicist: Could you talk a little bit about Mr. De Palma as a teacher? I’d describe him as one of the most generous directors I’ve ever had the pleasure of working with. I was a unit publicist for Carlito’s Way, and he didn’t say a word to me. But I never got kicked out of video village, anything I wanted to see I got to see, and it was the most amazing experience. I didn’t realize until watching this that… he’s a teacher. So could you talk a little bit about that?

Paltrow [nodding rigorously] : I really think that’s where the movie comes from. I think you sort of summed it up. That’s our experience of Brian, too, and that’s, exactly—not getting kicked out of video village… you know, virtually everybody would do that. I mean, that’s such a unique thing. And I bet you it’s not even conscious, he’s not distracted by that sort of thing. But that’s the core, I think, why we even made this in the first place.

Baumbach: Yeah, it’s interesting. I always knew about Home Movies, but in going through the timeline of his career, I guess I never quite thought, until we were doing the interviews and cutting the movie, is that he already had made Carrie and The Fury, and was now going to Sarah Lawrence and making this tiny movie with students and, you know, it’s so idiosyncratic. But as you know, Brian, as you point out, as you get to know him, it doesn’t actually seem out of line with the career—it actually seems very much in line with it. But it’s still… I don’t know any other filmmaker who’s done something like that.

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Emily Buder, IndieWire

"'The Hollywood system destroys creativity,' Brian De Palma tells us in Noah Baumbach and Jake Paltrow's documentary. That's not the first nor the last of the impassioned statements the director makes throughout the course of the film, which feels less like a retrospective and more like a cinephile confessional. 'It's in the same spirit as having coffee with him,' said Paltrow. That is, if you take your coffee blood red...

"Studio veteran influences aside, one of the most surprising revelations of De Palma is the extent of the director's stalwart low-budget conviction. 'What's the point of film school if kids don't learn how to create low-budget movies?' De Palma asks in the film. Clashes with studios, such as Columbia and Paramount, further highlight his commitment to his vision. But what stands out most is one of the most original films any low-budget guru has ever attempted... [In that last sentence, Buder is referring to Home Movies, as she then segues into the quotes from Baumbach talking about that film.]

"Throughout the film, De Palma speaks candidly of his confrontations with failure. Embedded within every film is a colony of mistakes, regrets and blunders De Palma is quick to detail. 'Your films are like a public record of things you didn't finish,' he says."

Jason Bailey, Flavorwire

"In De Palma, the filmmaker makes no attempt to hide Hitchcock’s influence — in fact, it opens with him describing the formative experience of seeing Vertigo at Radio City Music Hall, something he says he 'will never forget.' If anything, De Palma seems confused that more of his contemporaries weren’t influenced in the same way, situating themselves similarly as 'practitioners' of the vocabulary Hitch perfected.

"The two filmmakers now also share the experience of walking through their careers with younger directors who idolize them, and De Palma has both the scope and specificity of the essential text Hitchcock/Truffaut, covering the entire career (even the movies we don’t really talk about) while pausing for in-depth explanations of the reasoning behind certain iconic shots, or the aesthetics of trademark techniques."

Anne-Katrin Titze, Eye For Film

"On the way out of the theatre, I told both of them that I was not the greatest De Palma fan, that I actually despised Passion, and that their documentary made me reconsider and curious to go back and re-watch a number of his films (not Passion, though). 'That's a good reaction to have,' Baumbach responded. Paltrow, when I brought up the great sense of completion due to the fact that they discuss all of his movies, confirmed that for them that was also a very important factor."

Nick Newman, The Film Stage

"Being a great admirer of Brian De Palma, I found that no film from 2015 was as purely pleasurable as Noah Baumbach and Jake Paltrow‘s De Palma, a blow-by-blow examination of the director’s massive oeuvre. Its structure is simple — De Palma speaks candidly about his upbringing, early efforts, and subsequent successes (as well as failures); many clips and archival materials are interspersed — but the effect to which their resources are wrung evinces a great deal of attention and care. In Baumbach’s own words, 'This is the only movie, probably, I can safely say, that I’ll be involved with that I can just keep watching over and over again. I find it so interesting.'

"After screening their work for press and industry members at this year’s New York Film Festival, the pair engaged in an Amy Taubin-led Q & A featuring audience questions. It’s hit-and-miss, as these things tend to be — I’ll pat myself on the back a little too strongly by noting that my own question, the very last, is the only one that seems to impress and stump both of these De Palma experts — but good insights are gathered throughout. My favorite part? When Baumbach explains the unexpected influence by saying, 'In a way, Brian, for me, sort of existed as what movies were awaiting me as a I got older. And then, once you start seeing them, they kind of go into your head and they don’t come out. I carry so many of those images over. The way I remember them, when I revisit them, I’m always surprised at how different they might be than the way I remembered them.'”

4. Whedon had trouble writing the script for movie sequel Serenity because of the wildly different genres its leading characters, Mal and River, represented.
"Mal is a Western fellow and River is kind of Noir, so how do I reconcile them?" His mentor, film professor Jeanine Basinger, helped him steer through the block with genre-blurring movies like Brian De Palma's The Fury and Nicholas Ray's classic Western Johnny Guitar.

In honour of TIFF’s 40th anniversary, we look back with wonder, and sometimes frustration, with some of the films that were Closing Night Galas. But first some thoughts on festival dynamics. All film events suffer from ‘End of Festival Malaise’. Many entertainment media have already abandoned TIFF this year, as always. That is exactly what happens in other cities including Cannes, the Grand Pere of filmfests.

Because of this phenomenon, producers, filmmakers and distributors want their prestige pictures to play in Toronto on the opening weekend. More impact, more media hoopla, better chances of coming out of TIFF with new sales or bigger box office or even an Oscar campaign underway.

“You’re right,” TIFF director Piers Handling says. “Every festival is front-loaded. It’s very difficult not to do that. There is too much pressure, because everyone feels that the press is here for the first week of the festival and they tend to kind of go after the Wednesday. But it still is a public festival — and obviously there is a large Toronto public that continues to go to the films. There are Galas and special events involving major names at the end, including our Closing Night Gala. But it does appear somewhat to be an irreversible trend.”

Handling says that TIFF is handling the situation “as best we can,” including offering a free screening of Alfred Hitchcock’s 1958 classic Vertigo on Sunday, 3:00 p.m. at Roy Thomson Hall. “It will be extraordinary — with the Bernard Herrmann score played live by the TSO (Toronto Symphony Orchestra) in RTH!”

As for TIFF’s Closing Night Galas, the first Festival of Festivals in 1976 showcased the Soviet film, Queen of the Gypsies (also known as Gypsies are Found in Heaven). Since then, some other fascinating films have taken the slot:

• Divine Madness (1980): My first official Toronto Sun interview was Bette Midler for Michael Ritchie’s wildly entertaining musical and comedy doc. Great interview, great doc, great way to end TIFF 1980!
• Threshold (1981): Richard Pearce’s medical drama, starring Donald Sutherland as a heart surgeon who pioneers artificial heart transplants, has never been given the accolades it deserves.
• Children of a Lesser God (1986): With William Hurt and Marlee Matlin co-starring in Randa Haines’ romantic drama, Mark Medoff’s stage play became a worthy film about a deaf woman intersecting with a speech therapist.
• Twist (1992): Celebrated Toronto documentarian Ron Mann still deserves a shout-out for his post-WWII popular dance doc. It focuses on the Twist — and what ‘60s youth can forget Chubby Checker?
• Rudy (1993): David Anspaugh’s biopic about the runt of the litter who finally realizes his dream to play a few seconds of U.S. college football is a favourite of sports fans. But most forget it launched at the Toronto filmfest.
• That Thing You Do! (1996): Tom Hanks made his feature directorial debut with this hep-cat rock ‘n’ roll drama. It got Toronto dancing in the aisles with Liv Tyler, Charlize Theron, Steve Zahn and Hanks in the ensemble.
• Seven Years in Tibet (1997): I teased my filmmaking friend Jean-Jacques Annaud for casting Brad Pitt in the lead role, but this political film about an Austrian’s unlikely friendship with the young Dalai Lama is still visually striking.
• Femme Fatale (2002): Brian De Palma, a festival habitue, delighted in screening his lurid crime drama at TIFF. Rebecca Romijn co-starred with Antonio Banderas.
• Amazing Grace (2006): Based on reality, Michael Apted’s heart-felt film chronicles the desperate battle to take Britain out of the brutal slave trade late in the 1700s. The hymn’s guilt-ridden, anti-slavery origins story is told here.
• Stone of Destiny (2008): Actor-filmmaker Charles Martin Smith delighted in telling this true-life tale about Scottish rogues who steal back the legendary Stone of Scone in the 1950s. But it missed its mark at the box office.
• The Young Victoria (2008): Jean-Mac Vallee’s masterful Demolition opened this year’s TIFF. His first English-language success — a biopic of the young Queen Victoria with Emily Blunt — propelled his career into the mainstream.

Body Double will be the very first release in Carlotta's "Ultra Collector" series, of which it plans four titles per year.

"As De Palma talks, apparently in a single long interview, Baumbach and Paltrow, who claim a decade-long friendship with him, edit in clips to illustrate the movies and their influences. De Palma is very specific and not very theoretical, but makes several key general remarks along the way. The rest we have to deduce by ourselves. First he says he doesn't work from character as they (Baumbach and Paltrow) do, but starts with 'structure' and lets the film develop from there. He also says that everybody remarks on the genius of Hitchcock, but he is the only director to follow Hitchcock's methods extensively...

"The one long interview that seems to provide the material for this film includes De Palma's description of his dysfunctional family, his Quaker education, his undergraduate studies at Columbia and graduate work at Sarah Lawrence, and his various marriages and divorces, but personal details are firmly subordinated to the 28-film oeuvre, but he does describe his early and in some cases long-term relationships with major film figures who were contemporaries: Spielberg, Lucas, Coppola, Scorsese, De Niro. Baumbach and Paltrow's illustrative material is invaluable. Clips showing long tracking shots (Pacino, Nick Cage), of chases and shootouts, help give just a glimpse of De Palma's technical gift for storytelling with motion.

"The chronological approach means De Palma can describe developments in the film industry, his role in the New Hollywood when briefly directors could be independent and creative in a studio setting, followed by the takeover of the bottom-line obsessed aesthetically challenged producers of the Eighties and onward. As he comes to the end of his of a nearly fifty-year career, De Palma says a director's best work is usually done in his twenties and thirties and forties, and suggests that he may not be up to the physical demands of the job now as he nears seventy: so he takes us from the beginning to the end. He may not be the most profound or uplifting filmmaker, but he must be one of the frankest, humblest, and clearest. This is a highly informative film about De Palma's work; it's actually the kind of film one should have on DVD and watch over and over to focus on and cull out elements."

In the film, several times you mention your theory that it's only when directors are in their thirties, forties and fifties that they make their most interesting films...[Here De Palma's partner, who is sitting in on the interview and has obviously had words with him before about this act of gentle self-sabotage sighs "How many times did you have to say that?" and De Palma lets out a gust of laughter in response]
BDP: I'm sorry! What can I say? I'm a student of directors, and I noticed that.
Yeah, and the Hitchcock example you give in the film is perfect.
BDP: Exactly. "Torn Curtain" is not really the greatest picture. And let's not forget "The Birds" with that model stumbling about.
So what does that mean for your future directing career?
BDP: I'm finished. I'm done.
[Widespread protest. Expressions of disbelief.]
BDP: Anything else is just for kicks.
You can't be.
JP: You have like three things on!
NB: Oh dear. It was this interview that did it. The final ending.
JP: Oh come on, when are we gonna see your "Trouble with Harry," Brian?
BDP: [relenting a bit] Oh, I don't know. I always have ideas, and being on the independent film making stage, we try get them together. Sometimes they work and sometimes they don't. But yes, I'd like to keep working, because the brain keeps clicking. I guess I'll keep doing it until in the immortal word of William Wyler, "You can't walk anymore."
Pshaw, you can still be wheeled on.
NB: Thing is, you get to prove yourself wrong now. So with your next movie, all the critics will say, "Brian proves himself wrong, makes his best picture."
JP: All shot in your apartment from your La-Z-Boy
BDP: Maybe. If it was shot in the apartment.
JP: That would bring its own aesthetic.
Honestly, I feel like if you'd had a Kickstarter up at the end of the screening last night the audience would've have put their hands in their pockets and you'd probably have got instantly financed.
NB: So maybe now's the time to strike!
BDP: I'm open to offers….
You must have some passion projects somewhere in a drawer.
BDP: Oh, there's always passion projects...
[At this point I'm given the one-last-question signal, but De Palma kindly insists the PR gives us a little more time]

In addition to Wolfe and Bharata, novelist and law professor Thane Rosenbaum will also be on hand for the post-film discussion.