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Domino is
a "disarmingly
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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Brian De Palma
Karoline Herfurth
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AV Club Review
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Sunday, November 20, 2016
Dionysus In '69 was the first film ever screened at Zeitgeist Multi-Disciplinary Arts Center, and now it will be included in next week's six-day program, celebrating Zeitgeist's 30th anniversary. Brian De Palma's split-screen documentary, filmed with Robert Fiore and Bruce Rubin, will screen at 5:30 pm on Tuesday, November 29th. The description of the screening at the Zeitgeist website claims that there are two more Performance Group productions that were filmed by De Palma: Makbeth, which they did in 1969, and The Tooth Of Crime, a Sam Shepard play they staged in 1972. The site states that Richard Schechner brought 16mm prints of all three films to be screened at a Zeitgeist fundraiser for its production of Schechner's Commune there in 1989. Here's the full Zeitgeist description:
An experimental theater film by Brian De Palma, Robert Fiore and Bruce Rubin; directed for the stage by Richard Schechner; portions of the text adapted from "The Bacchae" of Euripides as performed by The Performance Group. Schechner approached "The Bacchae" not so much to re-interpret the play as to re-experience some of the impulses surrounding and informing it—to which end Euripides's lines were sometimes useful, and sometimes not. Schechner's troupe, The Performance Group, would by turns chant, or dance, make love, plot murder, whisper to the audience, or among themselves hold group therapy sessions. With its full nudity, its audience-participation orgies and its range of theatrical invention, "Dionysus in 69" strives for a degree of sensuous presence. De Palma uses a split screen, and he uses it in a variety of ways. Both sides of the screen always record the same moment in the production. But sometimes they show different parts of the arena (the Performing Garage was a kind of multi-level theater in the round, with cast and audience often sharing spaces). Sometimes they develop different points of view toward a single action. Sometimes they place an apparently random event in formal perspective, and at the same time isolate important detail.

In 1989 Zeitgeist Theatre Experiments, inc (our original name) staged a large scale theatrical production at X ART GALLERY, at 333 Girod St. in the CBD (a cutting edge space run by the late-great Clinton Peltier, an early partner and patron of Zeitgeist and all things ahead of their time) of COMMUNE (aka White Exorcism), an environmental theater piece by Richard Schechner and the Performance Group. In Commune, actors and volunteers from the audience restaged the “Pattern of butcheries in American History from the point of view of the Manson Family as a justification of their actions”. One night we even got a pregnant biker chick in the audience to play Sharon Tate as the actors brutally killed her as she screamed for them to spare her babies life. Although the production was savaged in the local press, the production was a huge success and ran for three weeks.

Richard Dodds in the Times Picayune said “Call me a reactionary pig but…” and proceeded to attack the production “under the fascistoidal direction of Rene Broussard” claiming that cast members “soiled, stretched and scuffed his 180 loafers when they wore them on their filthy feet to reenact the murders”. So for the remainder of the production cast members wore tie-dyed t-shirts saying “Richard Dodds Is A Reactionary Pig”.

As a fundraiser for the production as well as to afford bringing in Richard Schechner for the opening of the play Richard loaned us 16mm prints of Dionysus in 69, Makbeth and Tooth Of Crime (three films of Performance Group productions filmed by then NYU student Brian DePalma). DIONYSUS in 69 was the very first film Zeitgeist ever screened. So please enjoy this very rare look back at Zeitgeist’ history.

The Times-Picayune's Mike Scott provides a nice set-up for next week's Zeitgeist program, with background information, in an article posted Saturday:

It started with a protest of sorts. Which, in this particular case, is fitting to the point of bordering on poetic.

It was 1986 and Rene Broussard, then a student at the University of New Orleans, was directing a stage production of the giddily depraved "Blood on the Cat's Neck." It was a production chock-a-block with sex, violence, necrophilia, human bondage and other such provocations that so tend to tickle and titillate undergrads.

Then, days before the first performance, the department head dropped in on one of the final dress rehearsals. He was neither tickled nor titillated. He was, however, provoked.

"He was shocked by the graphic violence and nudity and said, 'You can't do this at UNO!,'" Broussard recalls. "... And so the production got canceled and I ended up taking it off-campus and running it on Bourbon Street as a benefit for Artists Against AIDS. It ran for three weeks. That became the first Zeitgeist experiment."

Thirty years later, Broussard's Zeitgeist Multi-Disciplinary Arts Center is still going, and still working hard to provoke, regularly delivering or the promise of its guiding principle: "Something for and against everybody."

On Friday (Nov. 25), Zeitgeist will kick off a week of special programming marking its first three decades in operation. Highlights include Brian De Palma's "Dionysus in 69," which was the first film Zeitgeist ever screened; Broussard's own autobiographical triptych "The Fatboy Chronicles"; the music documentary "Liquid Land," which was filmed at Zeitgeist; and other selections intended both to highlight and celebrate the theater's history.

Posted by Geoff at 11:57 PM CST
Updated: Monday, November 21, 2016 12:32 AM CST
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Thursday, November 17, 2016
It was announced today that Brian De Palma will attend the 38th Havana Film Festival, which runs December 8-18. According to Fox News Latino, "De Palma, who has attended the festival on other occasions, will teach a class on cinema and visit the acclaimed International School of Film and Television in the western Cuban town of San Antonio de los Baños."

Oliver Stone will also be at the festival, presenting his latest film, Snowden.

Posted by Geoff at 6:30 PM CST
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Wednesday, November 16, 2016
Ty Burr, Boston Globe

"Does it matter that Susan and Tony’s wife and daughter are all identical-looking redheads? Well, duh. Doublings and mirror images abound in Nocturnal Animals. Flashbacks and present-day sequences entwine around fictional scenes until Ford has us trapped in a web of guilty complicity. Like Hitchcock, certainly, and it’s no coincidence that Abel Korzeniowski’s musical score swoons like vintage Bernard Herrmann (or like Pino Donaggio’s Herrmannesque scores for Brian De Palma’s 1970s thrillers).

"Is Tom Ford a dilettante? Honestly, the jury’s still out. He gets committed work from his cast; even if Adams is arguably miscast in a coldhearted role (yes, she can do anything, but that doesn’t mean she should have to), Gyllenhaal expertly toggles between Straw Dogs meekness and madness, and Aaron Taylor-Johnson is the sexiest black hole of irredeemable evil in many a moon. And when Michael Shannon turns up as Bobby Andes, a lethal West Texas police detective, Ford guides the actor to one of his scariest and most controlled performances.

"Yet with Ford — and unlike Hitchcock (and, at his best, De Palma) — the mystery stays on the surface, caught in Seamus McGarvey’s clinically composed camera shots and Joan Sobel’s impeccably disorienting editing. The 'solution,' or the one that’s implied in the film’s final scene, feels small and incommensurate with the dark places the rest of the movie takes us, and it may occur to you that what concerns this filmmaker is the immediate effect rather than the lasting impression. I don’t mean it as a cheap shot, but Nocturnal Animals is very like an exquisitely rendered window display. It’s something at which you pause and peer into and catch your breath — and then move on."

Jesse Cataldo, Slant

"Matching updates of two dynamic variants of mid-century noir (the gonzo woman's pictures of Otto Preminger with the psychological nocturnal westerns of Anthony Mann), Nocturnal Animals gets close to a double-barreled satirical thriller commenting on the historic rift between city and country. But for all his panache, Ford lacks the focus and control of someone like Brian De Palma, whose work, including his recent Passion, routinely straddles such disparate divides. Nocturnal Animals, meanwhile, wastes too much time fulfilling the nuts-and-bolts demands of both of its genre exercises to transcend their limits, while remaining too scattered and routine to actually work as a satisfying example of either.

"The film's best achievement remains its illustration of the supposed lewd, overflowing vitality of the lower classes butting up against the frigid primness of the upper, which then vampirically exploits this divide as part of a ritualistic cultural transfer. This process, by which the rustic, the seedy, and the menacing are drained of residual danger and reimagined in chic aesthetic forms, is one of the trademarks of both the fashion world from which Ford hails the high-end art scene in which Susan operates, the latter seen in that flamboyant opening show and the stylishly shabby pieces that litter her gallery. The film itself carries off a similar act of transference, repackaging grim, nasty authenticity as shiny pop product, even its ugliest revelations sugarcoated within correspondingly gorgeous images.

"Such a combination might have yielded marvelous results were Nocturnal Animals willing to get truly weird, but Ford instead remains too reliant on overwrought imagery, residual prestige affectations, and conventional rhythms to break free of either genre the film experiments with, leaving one section stuck as a second-rate Cormac McCarthy adaptation, the other a tamped-down Fassbinder tribute. Its ultimate message, that the stereotypical façades which front these two worlds only serve to disguise how much they have in common, ends up getting muddled rather than expressively conveyed, leaving Nocturnal Animals as a film that stands tantalizingly close to greatness."

Pete Hammond, Deadline

"It has been seven years since Tom Ford added the job description of film director to his already famous fashion empire. That movie, A Single Man, was rightly acclaimed, and now with Nocturnal Animals he proves it was no fluke. Based on the 1993 novel Tony & Susan by Austin Wright, this adult thriller is a crazy mix of Alfred Hitchcock, David Lynch, Douglas Sirk, Brian De Palma, Stanley Kubrick and even a bit of Sam Peckinpah thrown in for good measure. But overall it is pure Ford, full of stylistic touches and fine acting."

Leah Greenblatt, Entertainment Weekly

"Ford is clearly a cinephile, and elements of other auteurs are all over Animals: the sexmad decadence of Brian De Palma, the formal control of Hitchcock, surreal dabs of David Lynch-ian grotesque. The movie’s lofty narrative ambitions never quite catch up with its aesthetics, but it’s still a fantastic beast of a film, intoxicating and strange."

Nocturnal Animals and Body Double

Posted by Geoff at 11:54 PM CST
Updated: Thursday, November 17, 2016 5:51 PM CST
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Monday, November 14, 2016
Talking to Metro.us' Matt Prigge, to promote her new movie, Bryan Bertino's The Monster, Zoe Kazan discusses the types of horror films she enjoys. "I have a pretty high bar when it comes to horror," she tells Prigge. "Most of the movies I enjoy within the genre are movies that don’t rely on gore. I have a really hard time with violence onscreen. Even movies I can really respect, like Halloween, because it’s a slasher film, I don’t have a great stomach for it. Even though I have huge respect for Eli Roth, I don’t want to watch a Hostel film. I don’t want to watch people’s limbs severed. I lean more towards Don’t Look Now and Rosemary’s Baby and The Exorcist, or even films like Repulsion or a whole bunch of Brian De Palma films — Carrie and Sisters. But I like horror movies. I like going to be scared."

Posted by Geoff at 12:01 AM CST
Updated: Monday, November 14, 2016 12:08 AM CST
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Sunday, November 13, 2016
Costume designer Amy Roth, the niece of costume designer Ann Roth, was interviewed recently by LRM's Gig Patta. "You have an amazing career," Patta asks Roth at one point, "with working from a comic book like The Avengers to American Gangster to even TV shows like Madame Secretary. What kind of projects do you love to work on? You have such a diverse career."

Roth responds, "It may sound negative, but working in the Marvel community can sometimes be difficult. You are working with a group of people who already created something. They're big and wonderful movies, but things are dictated from the Marvel comics down to you.

"My idea of a great piece is something along those lines—maybe fantasy. I love period movies. But, after doing this period movie, I would like to do something more inventive and people don’t tell you on what somebody wore 'cause you haven’t invented it in that world yet.

"It would be something like Blade Runner. Somebody like Ridley Scott, who likes to invent his own world. Or even somebody like Brian De Palma. Sometimes when you watch his movies, you feel like you’re in another world. I like to create your own reality.

"That would be fun right now for me."

Amy Roth's aunt, Ann Roth, has worked with De Palma on Dressed To Kill, Blow Out, and The Bonfire Of The Vanities.

Posted by Geoff at 5:23 AM CST
Updated: Sunday, November 13, 2016 5:39 AM CST
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Tuesday, November 8, 2016

The above BBC movie by Adam Curtis, HyperNormalisation, uses news and documentary footage from the BBC's archives, as well as clips from films and other sources, to tell "the extraordinary story of how we got to this strange time of great uncertainty and confusion," according to Curtis' own description, "where those who are supposed to be in power are paralysed - and have no idea what to do." Included in the climactic few minutes is the key scene from Brian De Palma's Carrie in which the blood is dumped on Carrie, and the gymnasium full of onlookers stands in shock, unsure of how to react. The clip is used effectively in Curtis' movie to illustrate the shock, uncertainty, and confusion of our recent times. Shortly after the Carrie clip, the movie moves into a concluding montage which uses some of the split-screen sequence from De Palma's film to further illustrate (again, rather effectively) the use and state of confusion, which can come from any side. "And," Curtis' description of his movie continues, "where events keep happening that seem inexplicable and out of control - from Donald Trump to Brexit, the War in Syria, the endless migrant crisis, and random bomb attacks. It explains not only why these chaotic events are happening - but also why we, and our politicians, cannot understand them."

Note: the above version of the movie on YouTube is missing a minute or two (you'll notice an obvious edit around the 9:15 mark). Curtis' posted the unedited version on his YouTube page, but that version is in a smaller frame within the video. So I suggest watching the bulk of it in the above version, but catch those two minutes in Curtis' smaller version.

Posted by Geoff at 12:01 AM CST
Updated: Wednesday, November 9, 2016 12:27 AM CST
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Monday, November 7, 2016
John Lithgow was interviewed by A.V. Club's Will Harris for the site's "Random Roles" series, in which actors discuss various roles without knowing in advance which roles they will be asked about. There is a nice segment about Lithgow's work with Brian De Palma:
Obsession (1976)—“Robert LaSalle”

AVC: How did you and Brian De Palma first cross paths?

JL: I was in a little summer theater workshop in Princeton, New Jersey. I was at Harvard at the time, and I was working with a bunch of Brian’s Columbia pals. It was sort of a college summer workshop. And we did a Molière farce, and they invited this friend of theirs, Brian De Palma, down to see it. And the first I ever knew of Brian was hearing him roar with laughter out in the audience. Brian has a huge cackling laugh that you don’t hear very often. And then backstage I met him for the first time. We were all about 20 years old back then. That’s how far back we go. In fact, Dealing—the movie that you mentioned—it was Brian’s idea! He suggested me to the director. So he’s part of my origin story as a movie actor! And then two years later, he cast me in my first major film role: Obsession. I’ve worked with him three times now.

Blow Out (1981)—“Burke”

AVC: Of the three, Blow Out is probably the most critically acclaimed.

JL: Yes! Yeah, it really is a terrific film. It really holds up. And it’s one of [John] Travolta’s really good performances.

AVC: It was also sort of an adaptation of Michelangelo Antonioni’s Blow-Up.

JL: Well, Brian doesn’t do adaptations. He sort of does riffs. Or homages, if you want to be pretentious. [Laughs.] You know, you could say that Obsession was his Vertigo film, and I can’t remember what the very, very precise references are in his movies, but those were his Hitchcock tributes. But they’re very distinctly De Palma’s.

AVC: Blow Out certainly has an ending that’s not for the faint of heart. It’s a bit dark.

JL: Oh, yeah! [Laughs.] He kills the people you’re really interested in!

Raising Cain (1992)—“Carter”/”Cain”/”Dr. Nix”/”Josh”/”Margo”

AVC: Raising Cain, meanwhile, has gotten a reappraisal recently as a result of a new director’s cut of the film that, oddly enough, wasn’t actually done by De Palma.

JL: Now you’re actually telling me news I didn’t know. I don’t keep up on these things! Who did the cut?

AVC: His name is Peet Gelderblom, and he took the film and created a new cut based on the original script, and De Palma thought it was great.

JL: Oh, Brian liked it? Wow! No, I haven’t heard anything about it. I’ll have to see it! Maybe he’s made a little bit more sense of it. [Laughs.] Brian’s movies are like Chinese puzzles. They’re incredibly intricate, and sometimes they’re so intricate that he has to edit them differently when it comes times to finish them. I remember a couple of my scenes being cut in two and separated by about 20 minutes.

AVC: That’s almost certainly the film where you play the most roles.

JL: Yeah. I think there’s five. It was kind of my Faces Of Eve. I loved it. It was really fun.

Posted by Geoff at 11:23 PM CST
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Sunday, November 6, 2016
Brannon Braga, creator of WGN's series Salem, was interviewed recently by Den Of Geek's Tony Sokol, who asked Braga, "What are your favorite devil movies?"
I'll tell you that Salem is chock-full of horror references. I'm quite a horror aficionado. I wrote science fiction most of my life, but my passion, really, has always been for horror. Everything comes out on the show, from Dario Argento to Alfred Hitchcock to the Japanese horror that could be harsh, a horror fan’s horror show. One movie that had a great influence was Roman Polanski’s Rosemary's Baby, the tone and style in which his movies were shot, or different directors, to keep the show grounded. I'm obviously a fan of Hitchcock's work.

I noticed similarities to Giallo horror films.

Oh, it’s all over the place. What a lost art. It's interesting when you looking at building things, like Brian De Palma was building on top of stuff. Everybody said he was doing Hitchcock. But no, he's not. He was doing Dario Argento. He was doing Giallo. We talk about that stuff all the time on the set. My favorite movie of all time is Notorious and we do pay homage that picture.

Which of those classic movies do you think have never lost power to scare? For me it's the scene in M when Peter Lorre breaks down in front of the criminal court.

Well, M is a masterpiece. In fact, child murder isn't exactly something that is probably ever going to be mainstream. That's a really good example of timeless horror. Some of the best modern 21st century horror has pushed the envelope and broken taboos. That's what horror does. I think one of the modern horror masterpieces of the 21st Century is the French film Martyrs. It is extreme horror, extremely frightening and extremely violent. It's a masterpiece. It was like they were taking things to the next level and I think horror has always done that. M is an excellent example of a timeless horror story. And I gotta tell you, Frankenstein is not necessarily as terrifying as it was to audiences when it first came out, but it is still the only true and truly successful horror science fiction story. That's a subgenre that you just don't see all that much.

I feel bad for the Frankenstein monster and King Kong. The witches on Salem have deep lives and we identify with them.

Oh, absolutely, I think these witches, mostly women, are oppressed, one of them is a slave, and powerless. Through witchcraft they found their power and I think the show’s feminist themes are relatable.

Posted by Geoff at 7:29 PM CDT
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Friday, November 4, 2016

Yesterday, Birth. Movies. Death.'s Chris Eggersten posted part one of a terrific "Oral History" of the prom scene in Brian De Palma's Carrie, which was released in theaters 40 years ago today. Part two of the oral history was posted today.

"On the occasion of Carrie’s 40th anniversary," Eggersten writes in the intro to part one, "I spoke with close to a dozen individuals who helped bring the sequence to life, including cinematographer Mario Tosi, art director Jack Fisk, screenwriter Lawrence D. Cohen, editor Paul Hirsch, associate producer Louis A. Stroller and stars Nancy Allen and P.J. Soles. De Palma, ever the elusive figure, was not made available for an interview despite multiple attempts, but if you care to know his thoughts on prom night, remembrances from the director are widely available elsewhere, including in the excellent Noah Baumbach/Jake Paltrow documentary De Palma released earlier this year.

"Here, I’ve pulled from a range of sources both above and below the line. Some, like stuntwoman Mary Peters and camera operator Joel King – who both risked and even sustained physical harm to fulfill De Palma’s vision – have rarely if ever been heard from before. Their participation is a direct testament to the collaborative nature of filmmaking itself, whose disparate elements rarely come together with such combustible force and synchronicity as they did in Carrie."

Posted by Geoff at 8:27 AM CDT
Updated: Friday, November 4, 2016 10:28 PM CDT
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Thursday, November 3, 2016

Nicolas Cage, who stars in Paul Schrader's new film, Dog Eat Dog, spoke on the phone recently with Moviefone's Drew Taylor, who couldn't help but ask Cage about Snake Eyes...
One of the other things that came out this year was in the "De Palma" documentary; the original ending for "Snake Eyes" was finally seen. Was that validating?

I didn't get to see it. I would love to see the "De Palma" documentary. I'm a huge fan of Brian's and I tried to get to work with him several times since we did "Snake Eyes." But I didn't get to see the documentary or the alternate ending. Could you explain it to me?

Oh sure, it was when the big wave comes over Atlantic City and you're trapped in a tunnel, drowning.

Yes, that's fascinating. I remember him talking about it but I didn't know that he shot the wave. That's fantastic.

Similarly, there was a documentary out last year about your "Superman" movie with Tim Burton. Was it nice to see that stuff finally get out there?

Yeah, it was nice that the filmmakers gave folks a chance to look at what it was really looking like, instead of that goofy picture that came out, which was a Polaroid that didn't have any real lighting. It wasn't even a real costume. It was somebody trying to start a story and created a shakedown on the Internet, but it was entirely false. You can see the way it was genuinely going with a little bit of care and understanding put upon it.

Posted by Geoff at 12:01 AM CDT
Updated: Friday, November 4, 2016 12:14 AM CDT
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