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But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore

Brian De Palma

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Brian De Palma
Age: 84
Born: 1940
Born: September 11
Film Director
Film Editor
Film Producer
Screenwriter
Newark
New Jersey
Brian Russell De Palma
Live
Work
Noir
Think
Contemporary
Thinking
Traditional
World
Anymore
Number
Numbers
Doesn

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You know, I listen to contemporary music all the time
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Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening
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I love working with women. I think they're beautiful. I like to photograph them. I like the way they interact. When I was in high school I used to hang out with the girls. When I went to graduate school, I was in an all girls school. So it's something I'm very familiar with and quite fascinated by.
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And I always had this idea for making a movie about a femme fatale, because I like these characters. They're a lot of fun, they're sexy, they're manipulative, they're dangerous.
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I mean, I don't mind promoting a movie, or talking to the press if it's going to be used in some way
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That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time
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I hadn't done just a straight-out comedy in a long time, just letting an ensemble do really good character acting, having them carry the movie as in my earlier pictures
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I've been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
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Everybody doesn't have to have a daughter who's a goodie-two-shoes.
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Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant
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You know it's always amazed me - I think the most startling thing that's happened in the last couple of decades is that there is no sort of objective reporting anymore.
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So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point
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The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting
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I've been sort of traveling around the country for ten years talking about independent features.
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I have swum against the stream all my life. It's not something I feel uncomfortable with. Is it difficult? Is it unpleasant? You bet.
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You never can predict things. I knew the movie Peducted would get a reaction, because it's showing a different vision of our soldiers in Iraq. All we ever get told is that they're valued and we support them, and as they're represented on television, they're true-blue and honorable. Which is true, for the most part.
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I sometimes go for the strongest, most vivid colour on the palette, which in the case of movies is violence.
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do i have political views? you bet! i think the best way to express them is in your work, and then get the hell off the stage
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The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.
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