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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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Interviews...

De Palma interviewed
in Paris 2002

De Palma discusses
The Black Dahlia 2006


Enthusiasms...

De Palma Community

The Virtuoso
of the 7th Art

The De Palma Touch

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Carrie...A Fan's Site

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No Harm In Charm

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a la Mod

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and the Infield
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Scarface: Make Way
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(Blow Out)

Carrie: The Movie

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Official Web Site

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Offices of Death Records

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Fan Page

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Guillotine

FilmLand Empire

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italkyoubored

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So Why This Movie?

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EatSleepLiveFilm

No Time For
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De Palma a la Mod
site

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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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Sunday, October 14, 2012
MORE VIDEO FROM DE PALMA/BAUMBACH TALK
DE PALMA SAYS HE DOESN'T KNOW IF HIS PARENTS EVER SAW 'HOME MOVIES'
"THEY NEVER SAID A THING TO ME ABOUT IT"



After Noah Baumbach talks a bit about autobiographical elements in his own films (in which he notes that is is most often things no one would think are autobiographical that actually are autobiographical), moderator Scott Foundas asks Brian De Palma if he specifically looked for someone who resembled himself ("the you that you wished you had been at that age?") when he cast Keith Gordon in Dressed To Kill. "Well, we made Home Movies first," De Palma replies, "and that's where we found Keith. And then, he was such a good actor that when I was writing Dressed To Kill, I wrote the part for him. And of course, he went on to be quite a good director, too. It was quite an experience developing him, because he's extremely talented."

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.


Posted by Geoff at 11:37 AM CDT
Post Comment | View Comments (1) | Permalink | Share This Post

Monday, October 15, 2012 - 1:46 AM CDT

Name: "rado"
Home Page: http://rado.bg

Very nice to see recognition for Keith Gordon from BDP. "Waking the Dead" is a stone-cold masterpiece.

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