I was doing print work for Vogue. I worked for Diane von Fürstenberg. I was doing print and beauty. And, uh...then... I hated it. I hated it. It was awful. There was all these stupid people and the photographers all had their hands on all the twelve-year-old models. It was disgusting! And so I would only work four days a week. And that was a lot of money. I was making about two-thousand dollars a day back then -- it was in the seventies -- which is a lot of money. For a twenty-seven-year-old, twenty-six-year-old. And one day, I said to... I was like, I only work four days, I can't stand this, I hate it. And then one of my girlfriends said she was doing a movie with Brian De Palma and wanted to know if I wanted to test. To do the make-up. [Shrugging] I was like, yeah, sure. I did the test, I got the job. And that was my first movie. And ever since then, I've been working.

I did... I lived in New York, and I called... I knew The Ramones were doing a movie. So I called up the director for the Ramones movie, and I said, listen, I have to do this movie. And he goes, like, well, send me your book. So I sent him my book, and he calls me back, and he goes, "Your too overqualified. I don't have any money, I can't bring you to California. I would love to have you!" I said, that's okay. I'll get on a plane, I'll find a place to stay, and I did it for two-hundred dollars a week. Rock And Roll High School. And it was AMAZING! [she laughs]

I've just, I've always worked. I did Saturday Night Live. I mean, I've really... I did [the] Tom Ford movie. I've really... I gravitate towards directors. So, I don't like to do personals, really. I don't really like to work with just one actor. I like to do the whole film. I like to work with the directors. When we did A Single Man, Tom Ford came up at the end of the first day, and he said, So what'd you think? And I said, Oh, my God, we made art! He says [mocks seriousness], "Well, I hope we make art every day." And you don't really feel that, when you're working in the film business. A lot. I mean, it's far and few between, I feel very privilidged and lucky and honored that, you know, I've worked with the directors that I've worked with. Because they're not the directors that say, "Yeah, it's fine, let's move on." They're like, "No, let's do it again!"

When I was teaching a filmmaking course at Sarah Lawrence College in the late 1970s, Kirk joined me in producing a super-low-budget feature titled Home Movies. My concept for the course was to show the students how to make a low-budget feature by making a low-budget feature. Once the class had written the script, we sought out financing and started casting. Since Kirk and I had enjoyed working together on The Fury, I asked him to join our project.

He agreed immediately and even invested in it with me (along with George Lucas and Steven Spielberg). My students were shocked and surprised: "My God," they exclaimed, "we have Kirk Douglas in our student movie!" They created and wrote a character — a film school teacher called the Maestro — for him to play. I have fond memories of Kirk sitting on a tree branch with his co-star Keith Gordon in the middle of the night instructing him on the virtues of Star Therapy ("You must be the star of your own life," his character lectured, "not an extra!").

A star: No one embodied it better.

Bradley Battersby: I was telling John that it was Brian De Palma who really influenced me in creating this program the way it developed. In that, you know, you put the young people with veterans-- the pros-- from the industry, and it just, it can take off, and be such a win-win for both parties. Because I think Brian got a lot out of it, stayed in touch with everybody for a long long time. So, pretty interesting. He gave you a number of roles, didn't he?

John Lithgow: Yeah, in three Brian films. Obsession, Blow Out, and Raising Cain. For some reason, he loved the idea of me, this sort of bland, benign WASP, ending up the villain of the piece... [laughter] ... the sadistic killer.

Norris' own Bio states that she was Scorsese's research assistant on Raging Bull, and quotes Richard Schickel's 2010 "Making of Raging Bull" article:

De Niro suggested a period of total isolation and immersion—no phones, no distractions of any kind. They chose the La Samanna resort, on St. Martin, in the Caribbean—a complex of separate villas. They shared one of them and installed a young assistant in another nearby. She was Gloria Norris, a recent Sarah Lawrence graduate who had worked with Scorsese’s pal Brian De Palma on his early picture Home Movies. Better still, her grandfather had been a fight promoter in New England, so she was no stranger to the boxing world. She brought “tons” of books along to help them with research. She remembers De Niro rising early to run along the beach. She remembers him and Scorsese talking out the script scene by scene in the mornings. She remembers Scorsese writing up the new material on yellow legal pads in the afternoons. She remembers “his handwriting was bad, so he’d have to read some of it out to me. It was full of profanity, and he’d get embarrassed saying those words to me.”

After that, Norris would retreat to her typewriter, and De Niro and Scorsese would sometimes head out in their Jeep to dinner in one of the several extremely good restaurants on the island.

Foundas persists, "But did he in some way remind you of yourself at that age...?" De Palma replies, looking over at Baumbach, "Well, I don't think it's that... I don't think you think that way. [Baumbach nods in agreement.] You just, you know... you're not the best specter on yourself, you know. I think what happens when people make autobiographical films, the problem is they have the least insight into themselves sometimes. They usually miscast themselves. {Laughter from stage and audience.] You know, it's like, 'Why did you use that person? That's nothing like you.' And I think you have kind of blind spots about that to some extent."

The discussion in the rest of the video gets into the process of finding locations (and which comes first, the location or the idea). Here, De Palma stresses that if you're willing to do the work, you can find visually striking places that will look good on camera. "And I've told this to my film students, too: You've got to walk the location. And you should physically shoot every angle you're going to use, because if you can't take a picture of it, and it doesn't look right, don't use it. So I haunt the location, I walk all around it, and then when I finally think that it works for what I want to do, then you can also shoot video, too, having the actors walk in the different places. I mean, this is something, if you are hard-working enough, you can test out everything. Certainly in the day of the digital cameras, there's no excuses for having a crummy location. What I find in so much of what I see, all the time, is like, nobody's thinking about what anything looks like. I mean, you know, New York: helicopter shot of New York. Wow. [Laughter] Now there's an idea. I mean, I think they did it in the thirties, maybe the twenties, I mean, how many helicopter shots have you seen of Manhattan? You know, or a car driving up to a house. And also, in the beginning of movies, where they waste all this time, of, you know, coming into the city. You see the second unit going out there, shooting all those, you know, arriving in New York, arriving in Chicago, and all the titles go across. The audience is, in the beginning of a movie, you're ready for anything. You're all excited. And suddenly you start seeing this terrible travelogue... [Laughter]. Drives me crazy."

After Baumbach speaks a bit about beginnings of films, Foundas explains that he is now going to show a clip from Baumbach's Margot At The Wedding and a clip from De Palma's Carlito's Way. In each clip, Foundas' focus is on the introduction of a character: Margot in the first, and Penelope Ann Miller's Gail in the second.

The bunny seems a deliberate homage by Spielberg to De Palma's Home Movies, and, perhaps, to Raising Cain as well. Spielberg previously nodded to Home Movies about a decade ago with a key shot in The Terminal. In an interview with Vulture's Patti Greco last month, United States Of Tara creator Diablo Cody said that Spielberg is "always incredibly involved in everything he does. He does not just put his name on something. His soul and his input were with Tara throughout the entire journey, and I can’t believe I had the privilege of working with him." With his hands-on approach, Spielberg appears to have inserted a sly homage to De Palma's cinema. Unfortunately, United States Of Tara was canceled by Showtime last month, and is now playing out its final season.

Speaking of The Untouchables, snarkysmachine states that she likes to watch that film, but only while folding laundry and organizing her closet.