Hello and welcome to the unofficial Brian De Palma website.
Here is the latest news:

De Palma a la Mod


De Palma Discussion


Recent Headlines
a la Mod:

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


Exclusive Passion

Brian De Palma
Karoline Herfurth
Leila Rozario


AV Club Review
of Dumas book


« May 2022 »
1 2 3 4 5 6 7
8 9 10 11 12 13 14
15 16 17 18 19 20 21
22 23 24 25 26 27 28
29 30 31


De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

The Swan Archives

Carrie...A Fan's Site


No Harm In Charm

Paul Schrader

Alfred Hitchcock
The Master Of Suspense

Alfred Hitchcock Films

Snake Eyes
a la Mod

Mission To Mars
a la Mod

Sergio Leone
and the Infield
Fly Rule

Movie Mags


The Filmmaker Who
Came In From The Cold

Jim Emerson on
Greetings & Hi, Mom!

Scarface: Make Way
For The Bad Guy

The Big Dive
(Blow Out)

Carrie: The Movie

Deborah Shelton
Official Web Site

The Phantom Project

Welcome to the
Offices of Death Records

The Carlito's Way
Fan Page

The House Next Door

Kubrick on the

FilmLand Empire

Astigmia Cinema


Cultural Weekly

A Lonely Place

The Film Doctor


Icebox Movies

Medfly Quarantine

Not Just Movies

Hope Lies at
24 Frames Per Second

Motion Pictures Comics

Diary of a
Country Cinephile

So Why This Movie?

Obsessive Movie Nerd

Nothing Is Written

Ferdy on Films

Cashiers De Cinema

This Recording

Mike's Movie Guide

Every '70s Movie

Dangerous Minds


No Time For
Love, Dr. Jones!

The former
De Palma a la Mod

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.
All topics
Ambrose Chapel
Are Snakes Necessary?
Bart De Palma
Beaune Thriller Fest
Becoming Visionary
Betty Buckley
Bill Pankow
Black Dahlia
Blow Out
Blue Afternoon
Body Double
Bonfire Of The Vanities
Boston Stranglers
Bruce Springsteen
Capone Rising
Carlito's Way
Casualties Of War
Catch And Kill
Cinema Studies
Clarksville 1861
Columbia University
Columbo - Shooting Script
Conversation, The
Daft Punk
Dancing In The Dark
David Koepp
De Niro
De Palma & Donaggio
De Palma (doc)
De Palma Blog-A-Thon
De Palma Discussion
Demolished Man
Dick Vorisek
Dionysus In '69
Dressed To Kill
Eric Schwab
Fatal Attraction
Femme Fatale
Film Series
Frankie Goes To Hollywood
Fury, The
George Litto
Get To Know Your Rabbit
Ghost & The Darkness
Happy Valley
Havana Film Fest
Hi, Mom!
Home Movies
Inspired by De Palma
Iraq, etc.
Jared Martin
Jerry Greenberg
Keith Gordon
Key Man, The
Laurent Bouzereau
Lights Out
Magic Hour
Magnificent Seven
Mission To Mars
Mission: Impossible
Montreal World Film Fest
Mr. Hughes
Murder a la Mod
Nancy Allen
Nazi Gold
Newton 1861
Noah Baumbach
Oliver Stone
Paranormal Activity 2
Parties & Premieres
Paul Hirsch
Paul Schrader
Pauline Kael
Peet Gelderblom
Phantom Of The Paradise
Pino Donaggio
Prince Of The City
Print The Legend
Raggedy Ann
Raising Cain
Red Shoes, The
Responsive Eye
Rie Rasmussen
Robert De Niro
Rotwang muß weg!
Sean Penn
Snake Eyes
Sound Mixer
Star Wars
Stepford Wives
Stephen H Burum
Sweet Vengeance
Tarantino  «
Taxi Driver
The Tale
To Bridge This Gap
Toronto Film Fest
Treasure Sierra Madre
Tru Blu
Truth And Other Lies
TV Appearances
Untitled Ashton Kutcher
Untitled Hollywood Horror
Untitled Industry-Abuse M
Venice Beach
Vilmos Zsigmond
Wedding Party
William Finley
Wise Guys
Woton's Wake
Blog Tools
Edit your Blog
Build a Blog
RSS Feed
View Profile
You are not logged in. Log in
Sunday, September 5, 2021

As Quentin Tarantino's first novel is published, GQ's John Phipps has a profile piece in which some other QT writings are mentioned:
Once Upon A Time In Hollywood is, at its heart, a book about the sadness and excitement of expectation: Sharon Tate, the next-big-thing actor with her unborn child; Aldo Ray, a washed-up alcoholic with his own kind of dignity; even Manson feels more like a relatable kind of loser, trying to make it big as a hippie folk singer, than the electromagnetic pulse powering a murderous sex-and-bullshit cult. At one point the book quotes the film critic Pauline Kael: “In Hollywood you can die of encouragement.”

It’s the losers, I think, who have Tarantino’s heart. Maybe that’s why [Cliff] Booth’s education in cinema feels so real. “I think it’s the solitary experience he ends up liking,” says Tarantino, turning reflective. “Which, actually, is kind of interesting. I hadn’t thought about it before – but that was, for the most part, you know, me. From, like, 14 to 22 or 23, I saw so many movies. But it was rare, unless the movie was a huge hit, that I saw something other kids in school saw or my family saw. For the most part, I’m seeing a whole lot of movies and I’ve never talked to anybody about them.”

The man GQ is speaking to today sounds blissfully happy, revelling in the joys of new parenthood. (He says he does bath time, but not nappies.) It’s been a slow growth towards contentment from the “piss and vinegar”.

“I think that’s the goal,” he says, laughing, “and most of us more or less achieve it.” But the young Tarantino was alone in his obsession. “It was a completely solitary experience. Whatever I felt about it, and however much I liked it, it was unexpressed.”

After that electric loneliness in the dark theatre, Tarantino would cut out magazine clips from his favourite music and movie critics and stick them into organised scrapbooks. “So I’d have my Pauline Kael books, my Stanley Kauffmann book, my Michael Ventura book.” Kael remains a guiding light. He not only owns all her books, but he also buys every different edition he sees. Fans have long wondered if Tarantino would ever get round to some of the projects he’s teased: a movie about the Vega brothers; a Silver Surfer film; a third Kill Bill. There are a few ideas today – the most surprising being that he’d like to write a novelisation of someone else’s movie – but the great forthcoming Tarantino work, for my money, will be a book of film reviews, slated for release in the next few years. Who wouldn’t want to read that?

Beyond that, there are big books of essays that he has been adding to for decades and which he can never seem to finish, on the work of filmmakers such as Brian De Palma, Sergio Corbucci, Don Siegel and Robert Aldrich. “I don’t think I’ll finish them,” he says, laughing. “They’re sitting un-typed in a drawer.” He has other plans – not settled yet, but vague, floating enticements that might grab him. He says he can see himself doing a novelisation of True Romance or Reservoir Dogs. What about – it seems so obvious – making Pulp Fiction into pulp fiction? A pause. “Nah, that doesn’t interest me.”

The answer is immediate. Because he knows instinctively, by this point, how to listen to his instincts, the ones that took him to where he is today. Before the mountain of paper, the one-handed typing, the rewrites and edits and inevitable accommodations with practicality, every project starts with an idea, an interior excitement, something he’s wanted to do for a long time, something that sparks the same sense of momentum he felt as a young guy adding dialogue to other people’s movies – that pregnant sense of direction and certainty. So he sits down to write. Very quickly, almost immediately, he knows if he’s on to something.

“I know within the first couple of scenes: I’m gonna finish this. This is it. This is the next one I’m doing. I started doing it and I was right.”

Posted by Geoff at 11:42 AM CDT
Post Comment | Permalink | Share This Post
Wednesday, May 28, 2014

Thank you to Antonios for sending us the link to the video above, in which Quentin Tarantino speaks at a press conference last week at the Cannes Film Festival. At about the 9:27 mark, while answering a question about dealing with pressure amidst expectations of each new film he makes, Tarantino mentions how, when he was younger, he would wait with heightened anticipation for each new Brian De Palma film. Vulture has a pretty good transcription of what Tarantino said, but the video above shows that certain points were left out (such as when Tarantino talks about how he would have "Scarface dreams," he adds that that was easy to do, having seen the original Howard Hawks movie). Anyway, here's the excerpt from Vulture:

When asked if he finds it harder and harder to top himself as he gets more famous and established, Tarantino said it's not something he thinks about. "Frankly, it’s not a pressure I ever feel because, to me, that should always be there. I want people to expect a lot from me. I want people waiting with great expectation for my next movie." It makes him feel connected with directors he grew up idolizing. "I mean, when Brian De Palma would come out with a new movie, the whole first two weeks before the movie opened, I would count down the days. That week before Scarface opened, that was Scarface Week. You know, 'Six more days to Scarface!' 'Five more days to Scarface!' I’d have Scarface dreams ... And then the new De Palma movie would open. I’d go see the first show, the first day, and no one could come with me. I had to see it by myself. Then I’d ruminate about the film all day long and then I’d go to see the midnight show that night, and then I could actually have some friends with me. That kind of excitement for a filmmaker is one of the things that keeps filmmaking alive, and vital, just like in Bob Dylan’s time waiting for Bob Dylan’s next album. Or in Norman Mailer’s time waiting for his new novel. I don’t consider that pressure. I consider that a luxury, that I actually have people who like my stuff and are waiting for the new one. I wouldn’t want it any other way. The opposite of what you’re talking about is I’m making a movie and no one gives a damn and it opens up and no one cares. That would be horrible."

Posted by Geoff at 3:35 AM CDT
Updated: Wednesday, May 28, 2014 3:36 AM CDT
Post Comment | Permalink | Share This Post
Tuesday, April 9, 2013

The 1994 BBC video above includes an excerpt from a conversation between Quentin Tarantino and Brian De Palma. A transcript of the full conversation appears in the John Boorman-edited Projections 5, as well as in Brian De Palma: Interviews, edited by Laurence F. Knapp. Prior to the excerpt, Tarantino shows a scene from De Palma's Casualties Of War (which he says is probably his favorite war movie), describing how he watched the film while he was writing Reservoir Dogs as sort of a guide for the emotions of his film. Tarantino also flips through his De Palma scrapbook for the camera. (And you'll note that the video begins with music from Blow Out, followed by soundtrack clips from the other two movies Tarantino named at the time (along with Blow Out) as his three favorite movies, Taxi Driver and Rio Bravo.)

Posted by Geoff at 6:54 PM CDT
Updated: Tuesday, April 9, 2013 7:35 PM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Monday, February 7, 2011

Everything is a Remix Part 2 from Kirby Ferguson on Vimeo.

The above video (I can't seem to get the embed code to work, so you'll have to click on the link above to watch), Everything Is A Remix by Kirby Ferguson, is part two of a planned four-part series that explores culture as a perpetual remix of previous (and current) culture. Part one focuses on the consistently recycled bassline from Chic's Good Times before delving into Led Zeppelin and the birth of "heavy metal." In the recently completed part two, above, Ferguson discusses how movies cannot help but be a product of films that came before, and he spends a good deal of time on a well-researched and edited montage of George Lucas' Star Wars, noting several of Lucas' influences with side-by-side comparisons. At the end of the video, Ferguson touches on Quentin Tarantino's Kill Bill, which he deems Tarantino's "remix master thesis."

"The killer nurse scene in particular is almost entirely a recombination of elements from existing films," states Ferguson, who narrates the videos. "The basic action is the same as this scene from Black Sunday, where a woman disguised as a nurse attempts to murder a patient with a syringe of red fluid. Darryl Hannah’s eye patch is a nod to the lead character in They Call Her One Eye, and the tune she’s whistling is taken from the 1968 thriller, Twisted Nerve. Capping it off, the split screen effect is modeled on techniques used by Brian De Palma in an assortment of films, including Carrie."

I wrote a comment on Ferguson's blog to say that this sequence in Kill Bill Vol. 1 always seems to give me a tinge of De Palma's Dressed To Kill in the mix, as well, especially regarding the scene in the latter where Bobbi kills the nurse and steals her clothes. Something about the fetishistic aspect of Tarantino's shots touches on this. In any case, Robert Grigsby Wilson was recruited by Ferguson to complete the study on Kill Bill, and you can watch that one below.* (And speaking of Carrie, I think one can make a case for that De Palma film being included in the mash-up of the scene in Kill Bill Vol. 2 where the Bride (Uma Thurman) punches her fist from the grave.)

*(Again, I can't get the embed code to work, so click the link below to watch the Kill Bill remix.)


Everything Is A Remix: KILL BILL from robgwilson.com on Vimeo.

Posted by Geoff at 9:51 PM CST
Updated: Monday, February 7, 2011 10:11 PM CST
Post Comment | View Comments (3) | Permalink | Share This Post
Monday, February 8, 2010

The video above comes courtesy of Hollywood Elsewhere's Jeffrey Wells, who attended a "Directors On Directing" panel yesterday at the Santa Barbara International Film Festival. The panel, moderated by Variety's Peter Bart, featured Quentin Tarantino, James Cameron, Kathryn Bigelow, Lee Daniels, Pete Docter, and Todd Phillips. The clip above shows Tarantino going into the anecdote he has told before about the De Palma/Scorsese rivalry, but he really plays it up this time in a highly entertaining way. Speaking of Scorsese, an interview article by Terrence Rafferty published yesterday in the New York Times discusses how, for the new Shutter Island, Scorsese and his music supervisor Robbie Robertson decided to use modern classical music to paint bursts of sound walls, the way Scorsese usually uses rock music. Should be an interesting effect-- looking forward to seeing it.

Posted by Geoff at 10:26 AM CST
Updated: Tuesday, February 9, 2010 8:35 PM CST
Post Comment | Permalink | Share This Post
Wednesday, September 2, 2009

Posted by Geoff at 1:02 AM CDT
Post Comment | View Comments (2) | Permalink | Share This Post
Tuesday, August 25, 2009

As far as I'm concerned, Inglourious Basterds is one of the main reasons Quentin Tarantino was called upon to make movies. 

(By the way, if you care about SPOILERS, read no further.)

From the time I saw Inglourious Basterds for the first time this past Saturday, one image that keeps sticking in my mind is one of the last images in the film-- the "Little Man" dutifully scalping a just-killed Nazi, looking up at Lt. Aldo Raine to answer the latter's semi-rhetorical question about the unacceptable possibility that Hans Lando might eventually remove his Nazi uniform. The "Little Man" (as the Nazis have nicknamed him) exudes a Hawksian professionalism in his scalping of the Nazi, and barely blinks when distracted momentarily by Raine's question, as if he is doing nothing less mundane than, say, preparing a salad, or tying a shoe. He's done this somewhere around a hundred times or more during this war, and has obviously become quite good at it.

Perfecting a practice or proccess is a major theme that runs through Inglourious Basterds, and it extends to Tarantino himself. When Raine puts the finishing touches on Lando and claims that this scar, which he has been perfecting by practicing on various subjects throughout his mission, may just be his masterpiece, the next thing we see is the credit that says the film was written and directed by Tarantino. This is the film where Tarantino knows he has reached a pinnacle of what he can do with his work—he knows what he did with Death Proof, he knows what the view of his oeuvre is by various factions of critics, and he knows exactly what he is doing with Inglourious Basterds. In this film, the next best thing to being told by the Führer that you may indeed have just done your best work yet (a proclamation which brings Tarantino's version of Joseph Goebbels to hilariously maudlin tears) is knowing that, indeed, the Führer of your own mind knows you may have just completed your own best work.

But there are masterpieces, and then there are masterpieces-- Shoshanna's suicide-mission of a film is a masterpiece on a whole different level, creating a work of revenge by filming her announcement of death to the Nazis who have gathered in her theater, and splicing that announcement into the middle of the exhilarating climax of Goebbels' masterpiece, "Nation's Pride" (this film-within-the-film, a parody of Nazi propaganda, was in real life directed by Eli Roth). The Nazis stand up and shout at the screen when Shoshanna's face and voice interrupt the drama of their war hero. Just as Shoshanna gets her own (posthumous, as it turns out) revenge on cinema by having created her own jarring cinema, Tarantino gets his cinematic revenge on Paul Schrader by giving a proper home to David Bowie's theme from Schrader's Cat People. The song itself (subtitled Putting Out Fire), which in the new film becomes a theme for Shoshanna, is a bit jarring to the viewer, especially as it brings to mind a completely different film and genre. Tarantino had been disappointed by the way Schrader had thrown the song over the closing credits to Cat People. Tarantino told Miami Herlad film critic Rene Rodriguez, "I remember working at the Video Archives at the time and thinking 'If I had a song like that for my movie, I'd build a 20-minute scene around it!' So I guess I did."

Those are just some initial thoughts I have on the film from seeing it once-- perhaps I will write more on it later. Suffice it to say, the film is worth seeing again.

Scenes in the climax, where everybody is locked inside the theater as it is burning, do indeed have the look (and sometimes the feel) of the prom-on-fire climax of Brian De Palma's Carrie, especially the colors. A commentor on this blog, "LUU" from France, also noted the Carrie similarities, and then added:

In the projection room, at the end, there is an hommage to Blow Out, the image of Travolta sitting in front of a pile of films. When Shoshanna opened a door the camera goes through the wall just like in Blow Out. There is also this mythical image of "Scarface shooting people" at the very end. (And probably Femme Fatale).

I am not sure what he meant by the Femme Fatale reference, but there you have it.

Posted by Geoff at 12:41 PM CDT
Updated: Friday, August 28, 2009 3:17 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post
Friday, August 21, 2009

Posted by Geoff at 3:37 AM CDT
Post Comment | Permalink | Share This Post
Thursday, August 20, 2009
At left, Quentin Tarantino lists his 20 favorite films to come out since he made his first feature, Reservoir Dogs, 17 years ago. In talking about the list to Straight.com's Ian Caddell, Tarantino compares the "friendly rivalry" between himself and Paul Thomas Anderson to that between Brian De Palma and Martin Scorsese:

“I actually made it a point to write down my favourite films of the last 17 years, which is when I started directing, and I am happy to say it was hard to break it down to 20,” Tarantino recalls during an interview in a Los Angeles hotel room. “I was delighted to find I wanted to have at least 30. I had to make some tough decisions. I think that shows there are a lot of great filmmakers out there doing terrific work. The one who immediately comes to mind is Paul Thomas Anderson. I feel that I am [Marlon] Brando to his Montgomery Clift. Brando was better because he knew Montgomery Clift was out there, and Clift was better because he knew fucking Brando was always there.

“I remember when I met Brian De Palma, who was always a hero of mine, and he was saying that he had a friendly rivalry with Martin Scorsese. He was shooting Scarface, and on one of his days off he went to see Raging Bull. He said that just seeing that classic opening shot with the rain and the slow motion of Robert De Niro as Jake LaMotta dancing, he thought, ‘There is always Scorsese. No matter how well you do and how good you think you are, there is always Scorsese staring back at you.’”

Tarantino was a fan of unique filmmaking styles before he ever directed a movie himself, and that holds true today. He says that while he may be Brando to Anderson’s Clift, there are several other contemporaries who have made an impression on him. “I really like some of the directors who have come along in the last two decades—people like Paul and Rick Linklater and Robert Rodriguez, and not just because they are friends. I am not friends with David Fincher but I love his work. I think right now the most exciting cinema in the world is coming out of Korea. I think Memories of Murder and The Host by Bong Joon-ho will definitely be on that best-20 films list.”

Speaking of Scarface, The Oxford Times' Damon Smith states that Inglourious Basterds includes "a cinema shootout that conjures memories of Brian De Palma’s Scarface."

Posted by Geoff at 4:55 PM CDT
Updated: Thursday, August 20, 2009 10:50 PM CDT
Post Comment | Permalink | Share This Post
Tuesday, August 11, 2009
Miami Herald movie critic Rene Rodriguez interviewed Quentin Tarantino this past weekend for a piece that will run this Sunday. Rodriguez offers a preview in his blog, in which he asks Tarantino about his use of David Bowie's theme from Paul Schrader's Cat People remake, mentioning to the director that the scene in which the song is used reminded him of Brian De Palma:

Q: You once said that when you use a pop song in a movie, you want to use it in a way that will always remind people of your film whenever they hear it, so no other filmmaker can ever use it. In this movie, though, you use David Bowie's Cat People (Putting Out Fire), which was written for the 1982 Cat People remake.

A: I've always loved that song and I was always disappointed by how Paul Schrader used it in the movie. He didn't really use it; he threw it in over the closing credits. I remember working at the Video Archives at the time and thinking "If I had a song like that for my movie, I'd build a 20-minute scene around it!" So I guess I did.

Q: There's a really cool sense of dislocation when that song comes on, which still sounds so modern, yet we're in World War II France. It's one of my favorite sequences in the film. It reminded me of Brian De Palma, back when he was still good.

A: When I got the idea to use it, one of the things I liked is that the song was once removed and you already knew it from something else, as opposed to something that was written for the movie. You're listening to the lyrics of the song and you're watching Shoshanna [a character in the film played by Melanie Laurent] doing all this stuff, and you sit there thinking "Wow, this song was written for Cat People, but it's totally appropriate for Shoshanna's story!" It plays like an interior monologue for her.

A comment on the blog post from mrbluelouboyle reminds readers that Tarantino had courted the idea of casting Cat People's Natasha Kinski in Inglourious Basterds, which makes the choice of song seem less random than Rodriguez had originally considered.

Meanwhile, Hollywood Elsewhere's Jeffrey Wells does not hold back in describing his contempt for Inglourious Basterds, stating, "I realize it's a Quentin movie that's basically about Quentin's bullshit, but -- I'm trying not to sound like a rabbi here -- Inglourious Basterds reeks of arrogance and sadism and indifference to the value of human life." Wells believes Tarantino has buried himself too deep inside own creative genius hype. Wells writes:

Inglourious Basterds is proof that QT has gone batshit crazy in the sense that he cares about nothing except his own backyard toys. He's gone creatively nuts in the same way that James Joyce, in the view of some critics, crawled too far into his own anus and headspace when he wrote Finnegan's Wake. All I know is that this is a truly empty and diseased film about absolutely nothing except the tip of that digit.

Posted by Geoff at 11:58 PM CDT
Updated: Wednesday, August 12, 2009 1:49 AM CDT
Post Comment | Permalink | Share This Post

Newer | Latest | Older