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Recent Headlines
a la Mod:

Domino is
a "disarmingly
straight-forward"
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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Exclusive Passion
Interviews:

Brian De Palma
Karoline Herfurth
Leila Rozario

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AV Club Review
of Dumas book

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« March 2021 »
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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
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The De Palma Touch

The Swan Archives

Carrie...A Fan's Site

Phantompalooza

No Harm In Charm

Paul Schrader

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The Filmmaker Who
Came In From The Cold

Jim Emerson on
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Scarface: Make Way
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The Big Dive
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Carrie: The Movie

Deborah Shelton
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Offices of Death Records

The Carlito's Way
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italkyoubored

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De Palma a la Mod
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Entries by Topic
A note about topics: Some blog posts have more than one topic, in which case only one main topic can be chosen to represent that post. This means that some topics may have been discussed in posts labeled otherwise. For instance, a post that discusses both The Boston Stranglers and The Demolished Man may only be labeled one or the other. Please keep this in mind as you navigate this list.
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Ambrose Chapel
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Genius of Love
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Laurent Bouzereau
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Friday, March 5, 2021
'ENOUGH TRACES OF DE PALMA'S SNAZZY, BAROQUE STYLE'
'DOMINO' IS ONE OF NY TIMES' DON'T-MISS-BEFORE-IT-LEAVES-NETFLIX-AT-THE-END-OF-MARCH
https://www.angelfire.com/de/palma/netflixresumedomino.jpg

Raising Cain, Domino, Scarface... when a De Palma film is on Netflix, it seems I'm perpetually watching it. I have about a dozen emails from Netflix asking me, "Are you enjoying Raising Cain?" That film finally left Netflix earlier this year, and now, at the end of this month (March 27, to be precise), Domino will be leaving as well. Jason Bailey at The New York Times' "What to Watch" column posted 13 titles "not to miss in March" before they leave Netflix. Domino is one of the 13:
Production issues plagued this, Brian De Palma’s most recent feature, and the filmmaker all but disowned the final result. So it’s difficult to give the picture a full-throated endorsement. But out of its messy making and compromised completion, one can still find enough traces of De Palma’s snazzy, baroque style — inventive camerawork, creative compositions, ingenious set pieces and cheerful indifference to plot — to warrant at least a curiosity peek. It’s far from top-tier DePalma, but at least it has some personality, which is more than you can say for most thrillers these days.

Posted by Geoff at 12:01 AM CST
Updated: Saturday, March 6, 2021 8:36 AM CST
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Thursday, March 4, 2021
BÉART FONDLY RECALLS DINNERS WITH DE PALMA
MISSION IMPOSSIBLE - "I WAS OBSESSED WITH THE IDEA OF HOW MANY AUTEUR FILMS IN FRANCE COULD BE MADE WITH THIS MONEY"
https://www.angelfire.com/de/palma/depalmabeart.jpg

Today kicked off the Film at Lincoln Center's 26th edition of Rendez-Vous with French Cinema. One of the free virtual events is a Discussion with Emmanuelle Béart. As the Rendez-Vous official Guest of Honor, Béart is interviewed by Columbia University Professor Richard Peña, who eventually asked her about working on Mission: Impossible:
Richard Peña: In addition to working with artists like Téchiné, Sautet, Rivette, Assayas, and others, you also have worked in Hollywood. Specifically on Mission: Impossible. And I'm wondering if you could talk about what your impression was when you arrived to be in a very big-budget Hollywood film, and then maybe on that, what was it like to work with another auteur like Brian De Palma?

Emmanuelle Béart: [via a French-English translator] Well, it was quite a strange experience for me. I must say that I got on this project, while I was RAISED in auteur cinema, so I had as an actor, a culture, habits of the background that I had, and the kinds of films in which I had been in. And all of a sudden, I got there, and I think Brian once told me, when it was the premiere of the film, he told me that he felt the same. That it was, when we were on set, the boss wasn't Brian De Palma. It was Tom Cruise and his team. That's what it was about. And this is something I really found hard to adjust to. I mean, for me, the director is the absolute master. He's the master and commander of the boat, of the set. And I expected this to be the same there, especially with a director as great as Brian De Palma. But it wasn't like that at all. And, it wasn't the problem of Tom Cruise, who I really got along well. And I think, for him, it was okay, it was the way it had to be, but it wasn't MY culture. It wasn't my way of engaging in a film project. So, that was quite strange.

And I was... a bit, also, I found incredible, the amount of money that was being used for ONE film. I was wondering all the time, I was obsessed with the idea of how many auteur films in France could be made with this money. Why are we putting so much money on ONE film? And when we were really too depressed, Brian and I, I remember, we would go in the evening into Italian restaurants, eat pasta, and talk about films, and talk about auteur cinema. And we had great fun, the two of us together, after, once the shooting would wrap, to go and enjoy our time together.

But for the film itself, I have mixed feelings, I would say. From one side I was like a kid. I found it funny, so, so much money, and to be able to just push a button and see a car explode. And this was a bit crazy. But at the same time, I felt quite embarrassed and not really at the place I wanted to be. That's why afterwards, I didn't stay in Los Angeles. I had an agent, I had many more offers, but they didn't make sense to me. It was too stereotyped. It was just a kind of, um, what's expected from a French actress, and really too similar to what I'd done before, and so I couldn't relate to any of these offers. And I just longed to go back home.


Posted by Geoff at 7:59 PM CST
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Wednesday, March 3, 2021
BRIEF CAMERA MOVE, PART 2 - 'SCARFACE'
THE THREE-O'CLOCK PHONE CALL
https://www.angelfire.com/de/palma/frank55a.jpg


Posted by Geoff at 12:01 AM CST
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Tuesday, March 2, 2021
'BLOW OUT' #30 ON CRITICS POLL OF BEST '80s FILMS
'UNTOUCHABLES' & 'SCARFACE' IN TOP 100; 'BODY DOUBLE', 'CASUALTIES OF WAR', 'DRESSED TO KILL' AMONG INDIVIDUAL LISTS
https://www.angelfire.com/de/palma/blowoutwindshield.jpg

Brian De Palma's Blow Out makes the top 30 of a new critics poll to determine the best films of the 1980s. The poll, conducted by Jordan Ruimy at World of Reel, asked participants "to submit their 10 best movies of the 1980s, unranked and without notes." Blow Out is ranked precisely at #30. Spike Lee's Do The Right Thing is ranked #1. Two more De Palma films from that decade made the top 100: The Untouchables tied for #74, and Scarface tied for #90.

Six of the seven films De Palma released in the 1980s were represented in the polled critics' individual lists. Our friend David Greven listed Blow Out and Casualties Of War at the top of his list. Blow Out showed up on 13 lists. The Untouchables was on five of the lists. Scarface, which showed up on four of the lists, was at the top of Uwe Boll's list. Body Double also made four of the lists, including that of Harry Knowles. Casualties Of War made two of the lists (Greven's and Michael Sragow's), while Dressed To Kill showed up on only one list: Chuck Wilson's. Wilson also had Blow Out on his alphabetical list, as did Peter Sobczynski.


Posted by Geoff at 12:01 AM CST
Updated: Wednesday, March 3, 2021 6:44 PM CST
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Monday, March 1, 2021
'THE UNTOUCHABLES' - A BREAKDOWN OF THE NARRATIVE
NARRATIVE SEGMENTATION OVER AT "THE SCREENWRITER" BLOG
https://www.angelfire.com/de/palma/untouchablesoffice.jpg

Enthusiasms... At The Screenwriter blog, a "screenwriting and storytelling enthusiast" has posted a narrative segmentation of Brian De Palma's The Untouchables. "Ness walks off into the Chicago streets, which he has helped to make safe," the enthusiast states at the end of the segmentation. Then, in italics: "(We opened with a restricted view of the world and Chicago with Capone in charge. Now, Capone has gone and we are shown the city carrying on with life, free from danger)."

Posted by Geoff at 12:01 AM CST
Updated: Tuesday, March 2, 2021 8:00 AM CST
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Sunday, February 28, 2021
NEW MUST-SEE VIDEO ANALYSIS OF 'CARRIE'
"DE PALMA IS A DIRECTOR WHO SEEMS TO BE CONSTANTLY TORN BETWEEN TWO SIMULTANEOUS IMPULSES"


Posted by Geoff at 11:57 PM CST
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Saturday, February 27, 2021
COSTUME DESIGNER PICKS TOP 10 PARTY SCENES

MEL OTTENBERG - "THE CLUB SCENE IN BODY DOUBLE IS ANOTHER MIND-BLOWER"


"Welcome to Club Mel," begins the description for the Club Mel column at Interview Magazine, "a weekly ode to vampire kisses, candy flipping, and all things going out. Remember leaving the house past 10pm? Our Creative Director Mel Ottenberg does. This week: Mel brings the party inside with his list of the top ten party scenes in modern cinema to watch right now. Behold, the bygone days of boogie nights."

At number 6 on Ottenberg' list is Brian De Palma's Body Double:

The club scene in Body Double is another mind blower that I’ll continue to watch all the time forever. And this one is directed by Brian De Palma! And stars Melanie Griffith as adult film star Holly Body! And features “Relax” by Frankie Goes To Hollywood in a club scene within a porn scene within the movie! It’s a lot to take in, and it’s all perfect. Remember one-night-stands when you met people out in the clubs? Remember THAT? This scene is giving that to you, and then some. I love you Melanie Griffith!

Posted by Geoff at 12:01 AM CST
Updated: Friday, March 5, 2021 12:22 AM CST
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Friday, February 26, 2021
BRIEF CAMERA MOVE, PART 1 - 'CARRIE'
"YOU CAN CHOKE ON IT FOR ALL I CARE, JUST GET IT OUT OF YOUR MOUTH"
https://www.angelfire.com/de/palma/carriegum1.jpg

Also, Epic Film Guys Podcast kicks off "De Palmcast" series with episode on De Palma's Carrie

Welcome, Epic Film Fans, to the first episode of 2021, and we're starting the year with a bang: It's the inaugural installment of our new monthly series, De Palmcast! This year, we'll be celebrating the life and career of a true Master of Suspense, Brian De Palma... and what better way to start out than with his 1976 masterpiece, Carrie! In this blood-soaked 45th anniversary retrospective, Justin and LoySauce discuss Carrie's origins as a bestselling novel by Stephen King; the phenomenal cast lead by Sissy Spacek and Piper Laurie; and the film's many technical achievements. Thanks as always for listening, and we'll see you at the movies!

Posted by Geoff at 8:07 AM CST
Updated: Friday, February 26, 2021 6:01 PM CST
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Thursday, February 25, 2021
DAFT PUNK 'EPILOGUE' - 'PHANTOM' - ETC., ETC.
THE VIDEO THEY USED TO ANNOUNCE THEIR SPLIT CONCLUDES WITH PAUL WILLIAMS COLLABORATION

The video above, Epilogue, was posted on YouTube this past Monday, effectively announcing the end of Daft Punk. The video repurposes footage from the duo's 2006 avant-garde science fiction film, Daft Punk’s Electroma, and is mostly silent, but concludes with the 2013 song "Touch," a collaboration the pair recorded with Paul Williams. The clip, then, brings to mind not only Phantom Of The Paradise, but also evokes, quietly, the Antonioni/Pink Floyd conclusion of Zabriskie Point, and, by extension, the conclusion of Brian De Palma's The Fury, albeit with a more somber melancholia than rage.

Ryan Ninesling at The Quietus describes the clip nicely, in an article headlined, "Daft Punk Said Goodbye With The Film Baring Their Soul" --
Bangalter and Homem-Christo’s cinephilia formed Electroma into a transformative experience for them, as their love of films was already hardwired into their identities long before the film was even conceived. Much of their music has been described by the pair as a love letter to the memories of films they bonded over in children, principally Brian De Palma’s satirical rock opera Phantom of the Paradise. Two other film projects they’ve worked on – the music video collection DAFT: A Story About Dogs, Androids, Firemen and Tomatoes and Discovery’s extended anime tie-in Interstella 5555: The 5tory of the 5ecret 5tar 5ystem – are steeped in the pair’s seemingly vast knowledge of international cinema and television. DAFT boasts direction from a collection of beloved auteurs ranging from Spike Jonze to Michel Gondry, while Interstella 5555 was born from a collaboration with the pair’s childhood hero Leiji Matsumoto, who has penned innumerable space opera manga and anime.

Electroma is unique in that it was the first and only film that was entirely Daft Punk’s own organism; they penned the script, co-directed, and Bangalter served as cinematographer, spending pre-production reading over 200 copies of the filmmaking magazine American Cinematographer to prepare. Electroma is no mere promotional add-on from Human After All; it’s a fully-formed feature with shades of independent cinema running through its circuited veins. The horrific, surreal masks the pair don in order to appear human mimic the nightmarish imagery of David Lynch’s Inland Empire. The robots’ ill-fated journey into the desert mirrors the doomed trip that forms the center of Gus Van Sant’s Gerry. The twisted depictions of suburbia and the otherworldly image of Homem-Christo wandering the wasteland alone evokes the mood of Derek Jarman’s The Garden. Through this confluence of cinematic flourishes, Electroma quietly highlights what Daft Punk’s discography was always trying to: conformity is an ironically surreal prison, and the only way to free ourselves is to let go and feel the music. Otherwise, we self-destruct.

This idea has been cemented by the duo’s use of the film’s climactic scene as a eulogy for their career, with some noticeable tweaks to the original film further emphasising Electroma’s importance to their legacy. The original film ends with Homem-Christo’s lonely robot giving into despair over the death of his silver-domed partner, sealing his own fate by smashing his helmet and using the broken glass to set himself ablaze in the desert sun. The new epilogue now gives the pair a more bittersweet ending, holding on to Homem-Christo walking off into the sunset, the hauntingly beautiful choral section of their Random Access Memories track ‘Touch’ sending him on his way. “Hold on, if love is the answer you’re home” croons over and over as 28 years of history are summarized in a few poignant frames. The newly formed juxtaposition of music and imagery affirms the romantic humanism that runs through these funky robots’ souls, reminding us of their career-long belief that our connections to one another, whether through music or other means, form the basis of our souls. By repurposing Electroma in this way, Daft Punk said goodbye with their motherboards laid bare for all the world to see.

Much will rightfully be written about Daft Punk’s musical output in the coming weeks, but their cinematic output shouldn’t be ignored. Electroma, in particular, offered a gateway to cinematic history beyond the mainstream, putting the duo’s forebears in direct conversation with the contemporary. It crystallised Bangalter and Homem-Christo as great purveyors of the human experience not just through their music, but through every sense of what it means to be alive. They visualised everything they were feeling and subsequently imparted the lessons of that experience to us, as they always graciously did. On the strength of that gift alone, the spirit of Daft Punk will live on forever.


Back in 2013, in a review of Random Access Memories, Slate's Geeta Dayal delved into Daft Punk's love for Phantom Of The Paradise, and the song "Touch" --
Here they’ve “sampled” the vintage production of their favorite records, using the same analog equipment, techniques, and musicians. Instead of sampling Chic, they brought in Chic co-founder Nile Rodgers to play guitar on two tracks. Instead of sampling Quincy Jones’ productions for Michael Jackson in the 1980s, they brought in the actual session musicians who played on the albums—including John J.R. Robinson, a drummer on Michael Jackson’s Off the Wall, and the guitarist Paul Jackson, who played on Thriller. They’ve “sampled” the clothes, too (Daft Punk’s tight sequined jackets resemble Michael Jackson’s) and the fonts (the cursive lettering on the cover of Random Access Memories resembles the cover of Thriller). Daft Punk even “sampled” their favorite movie—the 1974 Brian De Palma schlock classic Phantom of the Paradise—by inviting in Paul Williams, the movie’s composer and lead actor, to sing the album’s epic, melodramatic centerpiece, “Touch.”

Phantom of the Paradise is key to understanding Daft Punk’s aesthetic. In the movie, a nerdy songwriter is reborn as a phantom who attempts to exact revenge on an evil svengali record producer named Swan. In one scene in the movie, Swan traps the phantom—now wearing a tight black leather jacket and a robot helmet—in a sophisticated recording studio walled with racks of analog gear. The phantom, whose vocal cords have been destroyed, speaks through a talk box attached to his chest, sounding remarkably like a vocodered lyric in a Daft Punk song.

It’s easy to see why the rock opera was catnip for Daft Punk, who claim to have watched it more than 20 times—the movie is completely over-the-top, drenched in pathos, and layered with in-jokes and sideways references, much like the band’s music. Daft Punk’s black leather outfits in their 2006 feature film, Electroma, seemed inspired by the phantom. “Electroma is a combination of all the movies we like, paying a big, almost unconscious homage to them,” de Homem-Christo told Stop Smiling in 2008. “There are so many different influences: In the end, it becomes such a melting pot of everything that it resembles something else altogether. We love cinema the same way we do music—we’re from a generation that doesn’t segregate.”

Touch” is the apex of Random Access Memories, the total realization of the album’s ambitious reach. There’s nothing cool about it, and it takes guts to make music like this in 2013 on such a grand scale. It’s Daft Punk’s love letter to Phantom of the Paradise, and it’s schmaltzy and deeply weird. The lyrics are, well, daft (“Touch, sweet touch/ You’ve given me too much to feel”), but the lyrics are beside the point; Williams’ graceful vocal delivery is awe-inspiring. It’s simultaneously melancholy and uplifting; the moment where Williams’ voice trails off and “Get Lucky” begins is a great moment in pop music.


Vulture's Craig Jenkins also touches on the layers of meaning in "Touch" --
The mini-opera “Touch” may seem indulgent, but remember that the robots got the idea for masks watching Paul Williams in Brian De Palma’s outrageous 1974 musical Phantom of the Paradise. Was Daft Punk this molting, unpredictable, ever-changing thing, or was it more like an operating system whose day-to-day mechanics progressed through the years but always in service to a steady and unchanging core mission?

Posted by Geoff at 8:03 AM CST
Updated: Thursday, February 25, 2021 5:37 PM CST
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Wednesday, February 24, 2021
SLATE'S 'FLASHBACK' PODCAST LOOKS BACK AT 'PHANTOM'
AND AS DAFT PUNK CALL IT QUITS, EDGAR WRIGHT RECALLS THEIR ATTENDANCE AT 40TH
https://www.angelfire.com/de/palma/tweetdaft40th.jpg

Two days ago, Daft Punk announced that they were calling it quits. The duo had been inspired by seeing Brian De Palma's Phantom Of The Paradise early on, and worked with Paul Williams on the song "Touch" from the 2013 album Random Access Memories. Edgar Wright tweeted Monday:
When I hosted a 40th anniversary screening of Phantom Of The Paradise at the Cinerama dome, there were lots of superfans in the house; not least Daft Punk (sans masks). Pre-show, their manager asked politely that I not say they were present. I can now reveal they sat in G9 & G10.

Meanwhile, the latest episode of Slate's "Flashback" podcast has critics Dana Stevens and K. Austin Collins discussing Phantom Of The Paradise. The description lists "other titles mentioned in the episode" --
Nosferatu (1922)
Bride of Frankenstein (1935)
The Phantom of the Opera
The Cabinet of Dr. Caligari (1920)
The Picture of Dorian Gray (1945)
Femme Fatale (2002)
Dressed to Kill (1980)
Body Double (1984)
Casualties of War (1989)
The Black Dahlia (2006)
One From the Heart (1982)
New York, New York (1977)
Sisters (1973)
Carrie (1976)
Obsession (1976)
Dionysus in ‘69 (1970)
Scarface (1983)
Blow Out (1981)
The Fury (1978)
The Untouchables (1987)
The Wedding Party (1969)
Hi Mom! (1970)
Suspiria (1977)
Faust
Apocalypse Now (1979)
The Cask of Amontillado
Star Wars: A New Hope (1977)
Everybody Loves Raymond
Young Frankenstein (1974)
Psycho (1960)
Frankenstein
The Day of the Locust (1975)
Superstar: The Karen Carpenter Story (1987)
Finnegans Wake
Gimme Shelter (1970)
The Earrings of Madame De… (1953)
Letter From an Unknown Woman (1948)

Posted by Geoff at 8:05 AM CST
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