PACKED WITH DETAILS, BUT MISTAKENLY REFERS TO GELDERBLOM RE-CUT AS "OFFICIAL DIRECTOR'S CUT"
 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
Geoffsongs@aol.com
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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
Branches of the Academy of Motion Picture Arts and Sciences represent distinct disciplines of moviemaking. Working with members of the Academy branches, the Academy Museum presents a weekly series that offers a one-of-a-kind journey through film history. Working alphabetically through all 18 branches of the Academy, each week a different branch selects a film that represents a major achievement in the evolution of moviemaking and its unique disciplines.
Brian De Palma wrote and directed this mystery about a movie sound technician (John Travolta) who inadvertently records the assassination of a politician. Stylish and unexpectedly emotional, Blow Out has become one of De Palma’s most acclaimed films over the last four decades, and his script cleverly incorporates filmmaking techniques into its storyline. In collaboration with sound mixer Dick Vorisek and sound editor Dan Sable, as well as such De Palma regulars as cinematographer Vilmos Zsigmond, film editor Paul Hirsch, and composer Pino Donaggio, the director creates a worthy successor to the great conspiracy thrillers of the 1970s.
Thanks to Brett!
Despite the temptation of stepping away from new movies in favor of the Overlook’s impressive revival slate, which included a 10th anniversary screening of Oculus with Mike Flanagan in attendance followed by Lucio Fulci’s Louisiana-set The Beyond, there was one classic film I could not ignore. I ventured from the Prytania multiplex to the classic New Orleans theater that gave it the Prytania name—an Uptown institution for over a century that can be found in the pages of A Confederacy of Dunces—for a 50th anniversary screening of Brian DePalma’s Phantom of the Paradise followed by a Q&A with songwriter/star Paul Williams conducted by John Cameron Mitchell. It was a predictably memorable conversation, filled with behind-the-scenes stories and other tales from the height of Williams’ variety show-era stardom (including an anecdote about visiting New Orleans with Lee Majors while wearing a dog collar). The film remains as thrillingly weird as ever, but it also felt fitting to close out the Overlook’s 2024 incarnation with a film that defied categorization then and now and helped inspire those that followed to do the same.
