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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
Kristine: I don’t feel comfortable or qualified to speak for all ladies, but I think intruder fantasies are pretty common. I wanted to be into Kate as a sexually adventurous and liberated woman, but I have to say that I found her extremely vocal and almost instantaneous orgasm a little over-the-top and frantic.
Sean: In the cab?
Kristine: Yeah. That seemed like a straight male fantasy of how a horny, kinky woman would respond to “a man’s touch.” I did think the preceding scnee, with Kate cruising for anonymous sex in the museum, was awesome and convincing...
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Sean: I wanted to ask if the painting she was looking at is a recognizable or iconic piece?
Kristine: Yes! That’s an Alex Katz painting she is sitting in front of, considering.
Sean: Tell me about it. It reminded me of those 1930s/’40s soap opera comic strips like Mary Worth or Rex Morgan, M.D.
Kristine: I don’t know that particular piece, but I knew it was Katz right away. He has a very recognizable style. Lots of portraits, especially of women. I think he is known for images of quiet angst. Like, a beautiful couple by a beautiful pool in a perfect L.A. setting, but instead of feeling tranquil and aspirational, it seems to reek of alienation. That is my take, anyway. That painting speaks to my Theory No. 1. However brief, there are several points in the movie where two women survey each other, and each time it seems very meaningful and poignant, though I can’t say I understand what exactly is supposed to be conveyed each time. Kate and lady in Katz portrait is one of the first instances of this female-on-female meaningful gaze of assessment.
Sean: I didn’t catch these lady moments of recognition, other than Liz thanking the lady cop who shot Elliott at the very end. What other ones were there?
Kristine: See, I would exclude that moment from the tally (but I also thought the movie totally fell to pieces at the end). The moments I am talking about are: Kate + Katz portrait, Kate + unfortunate-looking little girl in elevator, and Kate + Liz when the elevator doors open. Significantly, Bobbi is always wearing sunglasses, so that direct eye-to-eye contact is impossible...
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Ratings Roundup
The Girl’s Rating: Sleazesterpiece! AND Mucho racisto AND Neo-Hitchcockian gorgeousness AND Poses great questions, fumbles the answers AND This movie IS the ‘80s.
The Freak’s Rating: Sleazesterpiece! AND Pop perfection
In other news, Nancy Allen has been added to the Days Of The Dead: Indianapolis conference, which takes place the weekend of June 27th-29th. P.J. Soles is also scheduled to be there, as is Dario Argento.
Later in the clip, Brian De Palma and Jay Cocks visit Scorsese a day later to have some cake and celebrate. De Palma mentions to Scorsese that he begins mixing in January, and we can surmise that he is talking about Casualties Of War, which would be released the following summer. The three begin to discuss Scorsese's next picture, which ended up being GoodFellas, although that might not necessarily be what they thought might be his next picture at the time. But when Scorsese is asked if it will be a New York picture, he replies, "I don’t know, it might have to be Chicago." Then he starts laughing, pointing toward De Palma, who had just had great success the year before with a gangster picture shot in Chicago, The Untouchables. "Or maybe Toronto," says De Palma. Scorsese replies, "Toronto is a problem because it’s so clean." (A New York Times obituary of former New York film commissioner Richard Brick, who died this past Wednesday, explains that around this time, "the cost of shooting movies in New York had driven both independent and big-budget studio filmmakers to seek alternative locations, even when authenticity would seem to have been called for.")
When Scorsese tells the camera that he had mistakenly told them yesterday that he was 47 years old (he was 46), De Palma is reminded of something he "found out," and wants to tell Scorsese and Cocks. And when he starts whispering it, Scorsese says, "No-- you say that on the camera." De Palma shakes his head, saying, "No, you can't tell anybody." It sounds like he's saying something about Steven Spielberg, who would have been turning 42 exactly one month later. Scorsese mentions that "he" [Spielberg] came by a few weeks earlier. A couple of years later, Scorsese would make Cape Fear with Spielberg producing.
You can watch the entire documentary in easy order at The Playlist.
Captain America co-screenwriter Stephen McFeely tells Superhero Hype's Edward Douglas how the film's directors, Anthony and Joe Russo, applied other inspirations to the movie, leaving the impression that the elevator scene, at least in part, was perhaps directly influenced by De Palma. "The very first draft of the screenplay looks a lot like the movie," McFeely tells Douglas. "That said, the Russos came in and had all the same and even better touchstones than what we were talking about. They came in and would say, "This feels like a William Friedkin section, feels like a Brian De Palma section," so like that elevator scene was something not quite as interesting as that elevator scene but the Russos came in and went, "Why don't we do this tense built-up elevator thing" and it was all very exciting the whole time we were working on the second draft with them. Chris and I would talk to each other and say, "They're talking a great game. If they can do what they say they want to do, this will be great," and then we had no idea whether the guys from TV would be able to do this. In a way, it was a really great mesh of that they really got the material and they elevated it. It was a real pleasure.
In an interview with Mother Jones' Asawin Suebsaeng, the Russo brothers talk about how the film was influenced by Sydney Pollack's Three Days Of The Condor, itself a film that heavily influenced De Palma, particularly on Mission: Impossible. They also mention several other movie influences, as well as how their film reflects current political anxieties. Here is an excerpt from the Mother Jones article:
"[That film] was a big influence on this movie," Joe says. "You could really call this movie 'Three Days of Captain America,' if you wanted to. The structure is so similar...We felt like we had a decent shot at getting [Redford] because the script had a political component to it and we thought that might motivate him."
But don't take any of this to mean the film is a stern lecture on American foreign policy. It's thrilling as hell, and also the best to emerge in the recent string of Marvel movies. "We're action fetishists," Joe says. "And we love '70s thrillers." The brothers drew on the influence of some of their favorite action-flick moments: The famous bank heist and shootout in Michael Mann's Heat. William Friedkin's The French Connection. John Schlesinger's Marathon Man. John McTiernan's Predator. Gareth Evans' The Raid: Redemption. (And for the Washington, DC-set car chase in The Winter Soldier, the brothers consulted YouTube, searching for videos of actual car chases. One video—wherein two escaped convicts in Brazil get stuck in traffic and plow through cars as police pursue them on foot—was especially helpful.) "Choreographing action, it's like choreographing a Broadway show," Anthony says.
But at the heart of the explosion and melee -filled film are the political themes, including targeted killing. "The question is where do you stop?" Joe says. "If there are 100 people we can kill to make us safer, do we do it? What if we find out there's 1,000? What if we find out there's 10,000? What if it's a million? At what point do you stop?"