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Brian De Palma Net Worth

How rich is Brian De Palma?

Brian De Palma net worth:
$65 Million

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Brian De Palma net worth, biography & wiki:

Brian De Palma is an American film director and screenwriter with a net worth of $40 million. Brian De Palma has assembled his net worth composing and directing suspense and crime thriller movies like Carrie, Dressed to Kill, Scarface, The Untouchables, and Mission: Impossible. He got interested in picture while he was a physics student at Columbia University. De Palma produced some pictures for The Treasury Department as well as the NAACP. De began making documentaries including The Responsive Eye and Dionysus in 69.

Brian De Palma Net Worth $40 Million Dollars

De Palma known movies in the late 60s are Greetings, Hi, Mom!, and Murder a la Mod. De Palma began working in Hollywood in the 70s. De directed the popular films Carrie, Scarface, Dressed to Kill, The Untouchables, Mission: Impossible, and Carlito’s Way. His latest movie was 2012’s Fire which competed for the Golden Lion in the Venice International Film Festival.



More about Brian De Palma:

  • Filmography
  • Awards
  • Salaries
  • Facts
  • Quotes
  • Trademarks
  • Pictures


Director

Director

TitleYearStatusCharacter
Lights Out2017pre-production
Passion2012
Redacted2007
The Black Dahlia2006
Femme Fatale2002
Bruce Springsteen: The Complete Video Anthology 1978-20002001Video documentary video "Dancing in the Dark"
Mission to Mars2000
Snake Eyes1998
Mission: Impossible1996
Carlito's Way1993
Raising Cain1992
The Bonfire of the Vanities1990as Brian DePalma
Casualties of War1989as Brian DePalma
Bruce Springsteen: Video Anthology 1978-19881989Video documentary video "Dancing in the Dark"
The Untouchables1987
Wise Guys1986
Body Double1984
Bruce Springsteen: Dancing in the Dark1984Video short
Scarface1983
Blow Out1981
Dressed to Kill1980
Home Movies1979
The Fury1978as Brian DePalma
Carrie1976
Obsession1976
Phantom of the Paradise1974
Sisters1972
Get to Know Your Rabbit1972
Hi, Mom!1970as Brian DePalma
Dionysus in '691970
The Wedding Party1969
Greetings1968
Murder à la Mod1968
Show Me a Strong Town and I'll Show You a Strong Bank1966Short
The Responsive Eye1966Documentary short
Bridge That Gap1965Short
Jennifer1964Short
Woton's Wake1962Short
660124: The Story of an IBM Card1961Short
Icarus1960Short

Writer

Writer

TitleYearStatusCharacter
Passion2012written by
Redacted2007written by
Sisters2006/Ibased on an original story / screenplay
Femme Fatale2002written by
Snake Eyes1998story
Raising Cain1992written by
Body Double1984screenplay / story
Blow Out1981written by
Dressed to Kill1980written by
Home Movies1979story
Obsession1976story
Phantom of the Paradise1974written by
Sisters1972original story / screenplay
Hi, Mom!1970screenplay - as Brian DePalma / story - as Brian DePalma
The Wedding Party1969writer
Greetings1968written by
Murder à la Mod1968writer

Producer

Producer

TitleYearStatusCharacter
Snake Eyes1998producer
The Bonfire of the Vanities1990producer - as Brian DePalma
Body Double1984producer
Home Movies1979producer
Carrie1976producer - uncredited
The Wedding Party1969producer

Actor

Actor

TitleYearStatusCharacter
The Black Dahlia2006Elizabeth's Screen Test Director (voice, uncredited)
Scene by Scene1998TV Series
Rotwang muß weg!1994Famous American movie director
The Great O'Grady1993TV ShortAmbulance Attendant
Greetings1968Man in front of draft office smoking (uncredited)

Editor

Editor

TitleYearStatusCharacter
Dionysus in '691970
The Wedding Party1969
Greetings1968
Murder à la Mod1968
The Responsive Eye1966Documentary short

Cinematographer

Cinematographer

TitleYearStatusCharacter
Dionysus in '691970
The Responsive Eye1966Documentary short

Miscellaneous

Miscellaneous

TitleYearStatusCharacter
Body Double1984presenter
The First Time1983creative consultant

Thanks

Thanks

TitleYearStatusCharacter
Mysteria2016Short dedicatee
Slit2015Short acknowledgments
Dans met de Duivel2015special thanks
Nosferatu vs. Father Pipecock & Sister Funk2014special thanks
American Federale2013Documentary special thanks
From the Darkness Theatre2013Short special thanks - as Brian DePalma
Walk of Fame2012Video short special thanks
Him Indoors2012Short special thanks
Dream House2009Video short special thanks
Little Red Riding Hood2009/IVideo short special thanks
Chef Tony Montana2008Video short very special thanks
Death Proof2007special thanks
Away from Her2006special thanks
Running Scared2006film dedicated to
The Making of 'Carlito's Way'2003Video documentary short special thanks
Femme Fatale: Dream Within a Dream2003Video documentary short special thanks
Engine Trouble2002/Ispecial thanks
Eriksson's War: A Talk with Actor Michael J. Fox2001Video documentary short special thanks
Stir of Echoes1999special thanks
Mr. Jealousy1997special thanks - as Brian DePalma
Double Negative1985Short special thanks - as Brian DePalma
Mean Streets1973special thanks

Self

Self

TitleYearStatusCharacter
Noah Baumback and Brian DePalma on Dressed to Kill2015Video documentary shortHimself
De Palma2015DocumentaryHimself
Brian De Palma Backstage at the Paradise2014Video documentary short
Inside Story: Scarface2013TV Movie documentaryHimself
The Hour2013TV SeriesHimself
Janela Indiscreta2013TV SeriesHimself
The Scarface Phenomenon2011Video documentaryHimself
Godard Made in USA2010TV Movie documentaryHimself
Irak-Afganistán, la guerra llega al cine2008TV Movie documentaryHimself
Días de cine1996-2007TV SeriesHimself
La nit al dia2007TV SeriesHimself
Body Double: The Controversy2006Video documentary shortHimself
Body Double: The Mystery2006Video documentary shortHimself
Body Double: The Seduction2006Video documentary shortHimself
Body Double: The Setup2006Video documentary shortHimself
Breakfast with the Arts2006TV SeriesHimself
Mission: Catching the Train2006Video shortHimself
Mission: Explosive Exploits2006Video shortHimself
Mission: Remarkable - 40 Years of Creating the Impossible2006Video documentary shortHimself
Paradise Regained: Brian de Palma's 'Phantom of the Paradise'2006Video documentaryHimself
Bullets Over Hollywood2005TV Movie documentaryHimself
Carlito's Way: Brian De Palma on 'Carlito's Way'2005Video shortHimself
Backstory2005TV Series documentaryHimself
The Untouchables: Production Stories2004Video documentary shortHimself
The Untouchables: Re-Inventing the Genre2004Video documentary shortHimself
The Untouchables: The Classic2004Video documentary shortHimself
The Untouchables: The Script, the Cast2004Video documentary shortHimself
Sisters, l'autopsie2004Video documentary shortHimself
Unseen + Untold: Scarface2003TV Movie documentaryHimself
Scarface: Acting2003Video documentary shortHimself
Scarface: Creating2003Video documentary shortHimself
Scarface: The Rebirth2003Video documentary shortHimself
The Making of 'Carlito's Way'2003Video documentary shortHimself
Femme Fatale: Dream Within a Dream2003Video documentary shortHimself - Writer / Director
Femme Fatale: From Dream to Reality2003Video shortHimself
The Making of 'Femme Fatale'2003Video shortHimself
Day for Night: Truffaut in the USA2003Video documentary shortHimself
Comme au cinéma2002TV Series documentaryHimself
The Making of 'Casualties of War'2001Video documentary shortHimself
Acting 'Carrie'2001Video documentary shortHimself
Slashing 'Dressed to Kill'2001Video documentary shortHimself
The Making of 'Dressed to Kill'2001Video documentary shortHimself
Visualizing 'Carrie'2001Video documentary shortHimself
'Obsession' Revisited2001Video documentary shortHimself
Vol de nuit2000TV SeriesHimself
Hitchcock: Shadow of a Genius1999TV Movie documentaryHimself
Charlie Rose1998TV SeriesHimself - Guest
The Making of 'Scarface'1998Video documentaryHimself
Gomorron1996TV SeriesHimself
A Personal Journey with Martin Scorsese Through American Movies1995TV Movie documentaryHimself
American Cinema1995TV Series documentaryHimself
Ennio Morricone1995TV Movie documentaryHimself
Cinema 31990-1994TV SeriesHimself
Cinéma, de notre temps1993TV Series documentaryHimself
Reflections on 'Citizen Kane'1991TV Short documentaryHimself
The Dick Cavett Show1978TV SeriesHimself

Archive Footage

Archive Footage

TitleYearStatusCharacter
Ebert Presents: At the Movies2011TV SeriesHimself
Who Is Alan Smithee?2002TV Movie documentaryHimself (uncredited)

Won awards

Won awards

YearAwardCeremonyNominationMovieAward shared with
2015Jaeger-LeCoultre Glory to the Filmmaker AwardVenice Film Festival
2008Youth Jury AwardAmnesty International Film FestivalRedacted (2007)
2007Critics AwardFrench Syndicate of Cinema CriticsBest DVD Single DiscPhantom of the Paradise (1974)
2007Future Film Festival Digital AwardVenice Film FestivalRedacted (2007)
2007Silver LionVenice Film FestivalRedacted (2007)
1990Stinker AwardThe Stinkers Bad Movie AwardsWorst PictureThe Bonfire of the Vanities (1990)
1988Blue Ribbon AwardBlue Ribbon AwardsBest Foreign Language FilmThe Untouchables (1987)
1977Grand PrizeAvoriaz Fantastic Film FestivalCarrie (1976)
1975Grand PrizeAvoriaz Fantastic Film FestivalPhantom of the Paradise (1974)
1969Silver Berlin BearBerlin International Film FestivalGreetings (1968)

Nominated awards

Nominated awards

YearAwardCeremonyNominationMovieAward shared with
2012Golden LionVenice Film FestivalPassion (2012)
2007Golden LionVenice Film FestivalRedacted (2007)
2006Stinker AwardThe Stinkers Bad Movie AwardsWorst Sense of Direction (Stop them before they direct again!)The Black Dahlia (2006)
2006Golden LionVenice Film FestivalThe Black Dahlia (2006)
2002Best FilmSitges - Catalonian International Film FestivalFemme Fatale (2002)
2001Razzie AwardRazzie AwardsWorst DirectorMission to Mars (2000)
1992Golden LionVenice Film FestivalRaising Cain (1992)
1991Razzie AwardRazzie AwardsWorst PictureThe Bonfire of the Vanities (1990)
1991Razzie AwardRazzie AwardsWorst DirectorThe Bonfire of the Vanities (1990)
1988CésarCésar Awards, FranceBest Foreign Film (Meilleur film étranger)The Untouchables (1987)
1985Razzie AwardRazzie AwardsWorst DirectorBody Double (1984)
1984Razzie AwardRazzie AwardsWorst DirectorScarface (1983)
1981Saturn AwardAcademy of Science Fiction, Fantasy & Horror Films, USABest DirectorDressed to Kill (1980)
1981Razzie AwardRazzie AwardsWorst DirectorDressed to Kill (1980)
1980NYFCC AwardNew York Film Critics Circle AwardsBest DirectorDressed to Kill (1980)
1977HugoHugo AwardsBest Dramatic PresentationCarrie (1976)· Lawrence D. Cohen (screenplay)
· Stephen King (based on the novel)
1975HugoHugo AwardsBest Dramatic PresentationPhantom of the Paradise (1974)
1975WGA Award (Screen)Writers Guild of America, USABest Comedy Written Directly for the ScreenPhantom of the Paradise (1974)
1970Golden Berlin BearBerlin International Film FestivalDionysus in '69 (1970)
1969Golden Berlin BearBerlin International Film FestivalGreetings (1968)

2nd place awards

2nd place awards

YearAwardCeremonyNominationMovieAward shared with
1989NYFCC AwardNew York Film Critics Circle AwardsBest DirectorCasualties of War (1989)


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#Fact
1Brian De Palma was one of film critic Pauline Kael's favorite directors, and she was also a fan of many of his films.
2Two of Brian De Palma's films are based on television shows: The Untouchables (1987) and Mission Impossible (1996).
3Though it's already known he assisted George Lucas several times while Lucas was making Star Wars: Episode IV - A New Hope (1977), he was a little skeptic and critical about the final product, after seeing for the first time, quoting "What is this crap about the force?". Source: Easy Riders, Raging Bulls: How the Sex, Drugs and Rock 'N' Roll Generation Saved Hollywood (2003).
4Brian De Palma is the godfather of Steven Spielberg and Amy Irving's son Max.
5Is a democrat.
6Has said that Scarface (1983) and Body Double (1984) are the two films of his that have been attacked the most. Dressed to Kill (1980) also received a lot of negative attention as well.
7Two of Brian De Palma's films, Sisters (1973) and Blow Out (1981), are in the Criterion Collection.
8Holds the dubious distinction of being the director with the most nominations for Worst Director at the Razzie Awards. He was nominated for Dressed to Kill (1980), Scarface (1983), Body Double (1984), The Bonfire of the Vanities (1990) and Mission to Mars (2000), but failed to win for any of these films.
9In Bulgaria, looking for locations for his current project - The Black Dahlia (2006). [November 2004]
10Has directed 3 actors to Oscar nominations: Sissy Spacek (Best Actress, Carrie (1976)), Piper Laurie (Best Supporting Actress, Carrie (1976)), and Sean Connery (Best Supporting Actor, The Untouchables (1987)). Connery won an Oscar for his performance.
11Revealed in an interview with French TV that a dream project since he started making movies has been an adaptation of the Alfred Bester novel "The Demolished Man". He said it's still a dream project because of its incalculable cost to produce.
12His three favorite films are Lawrence of Arabia (1962), The Red Shoes (1948) and Vertigo (1958).
13Received a special thanks credit in Mean Streets (1973) for introducing Martin Scorsese and Robert De Niro to one another.
14Ex-stepfather of The O.C. (2003) actress Willa Holland and Brianna Holland.
15Has never contributed an audio commentary track to his DVDs.
16Wrote the role of the call girl in Dressed to Kill (1980) specifically with his then wife Nancy Allen in mind.
17Is a huge fan of Bruce Springsteen and directed him in the music video "Dancing in the Dark".
18Italian-American.
19Younger brother of photographer Bart DePalma.
20Second daughter, Piper De Palma, born October 21 1996 in Palo Alto, California.
21First child with Gale Anne Hurd, Lolita, born September 19, 1991.
22In the 1970s, De Palma helped a close friend on a film project. He helped audition and interview actors. When the film was shot, DePalma did some uncredited writing on an opening "scrawl," a device the friend thought of at the last minute to help explain events in the film, so the audience would not be confused. The friend was George Lucas and the film was Star Wars: Episode IV - A New Hope (1977).
23Uncle of actor Cameron De Palma.
24De Palma bases his most famous cinematic predilection, voyeurism, on a specific childhood incident. When he was a child, his parents split up, his mother accusing his father of infidelity. The young De Palma spent several days stalking his dad with recording equipment, hoping to find evidence to confirm his mother's suspicions.
25De Palma graduated from Friends' Central School, a small quaker school outside of Philadelphia
26Won top prize in regional Science Fair in high school. Project was "An Analog Computer to Solve Differential Equations." Cf. computer nerd in Dressed to Kill (1980).

#Quote
1What's unique to cinema, unlike any other art form, is that you can show the audience and the character the same piece of information. They see what the character is seeing.
2[On Martin Scorsese] I think Marty gets these incredible performances from actors mainly because he spends a lot of time in developing kind of deep character relationships.
3[on acting for cinema] I don't think anybody had to give Steve McQueen any acting concepts, he was just a presence. And a lot of that works in cinema, when you crowd material around a certain movie star. But you have to be very patient and loving with your actors, because they're putting everything on the line, and you have to try to get everything out of the way to not hurt their performances or distract them. [2016]
4[on directing] Well you have to be incredibly prepared, because you have to have a plan when you go to shoot. But things happen: The weather, how the actor feels, what somebody ate the night before. You have to be aware and you have to be able to improvise, depending on what is happening in the moment. There's nothing like preparation for dealing with situations like that, so that you can shift from one thing to another painlessly. (...) For The Fury (1978) there was a very complicated panning shot that Carrie [Carrie Snodgress] didn't want to do, because she had to hit certain marks for it to work. She just couldn't get her head around why she had to be at a certain place at a certain time, because it didn't seem natural to her. So I had to sort of carefully adjust the shot to something that she understood in order to make it work, so that what I wanted to do and what she wanted to do was in harmony. And it all worked out fine. And she didn't quite understand it until she saw the rushes. [2016]
5A movie is a work of art. It either exists and people keep looking at it, or it vanishes. So, I have very little to do with it, and a movie has basically got to find its own way. And many of my movies, people are still looking at 30 or 40 years later, so I guess there's some value in it, because they've existed through the ages. [2016]
6You try to do the best you can under the circumstances it's intended with. And if you're fortunate, and if everything is clicking that day, you might come up with something remarkable. I can't think of many instances where I left the playing field and not accomplishing what I set out to do. [2016]
7I go to film festivals and see movies, and I watch a lot of stuff on TCM, and I'm exploring an actor that I might think might be right for something I'm working on, I go and look at all their movies. [2016]
8Well, the bigger the budgets, the more meetings you have. And if you have a very small budget you have a lot of control, and you don't have any meetings. So, it depends on the material and what you need in order to make the story effective. [2016]
9[on De Palma (2015)] I hope that, much like the book ['The Devil's Candy'] about The Bonfire of the Vanities (1990), you just have an honest portrayal of what the process is like, you don't pull any punches, you say exactly what happened. That's the only way to convey to young audiences or people interested in movies how the system works. As you know, film journalism is mostly spin. You talk to people, they say the experience was great, I love working with so and so, it's the best experience I ever had. And not until you're in the Hollywood old-age home do you have anybody tell you the truth. [2016]
10[on De Palma (2015)] Noah [Noah Baumbach] and Jake [Jake Paltrow'] were interested in this new digital camera, so Jake bought one. They wanted to make a record of all these stories that I'd told them over the years when we'd had dinner together, so they sat me down in Jake's living room. Jake operated the camera, Noah did the sound, and they would just ask me questions. [2016]
11I am one of the rare directors to have had his negatives stolen.
12[on The Untouchables (1987)] I got the script from Paramount, the David Mamet script. And I liked it quite a lot.
13[on De Palma (2015)] I tend to be attracted to filmmakers who are not like me at all. I met Noah [Noah Baumbach] almost 20 years ago - I immediately liked him, he's very bright. Because we approach cinema from different directions, we were fascinated by our different views on how to tell a story. They did their interview with me five years ago, in Jake Paltrow's living room, shooting on this digital camera, with Noah doing the sound. It was like the old cinema school days - you had three people and that was your crew.[2015]
14A year ago, I saw Bruno Dumont's Flandres (2006), and that really got me thinking about war movies. I find his stuff extremely inventive and very compelling. So I went back and looked at all his movies.[Nov.15 2007]
15[on whether he saw the film Hitchcock (2012)] Yes, I bought the book to see if it was actually real, what happened? I don't remember Hitchcock having problems with his marriage during the making of Psycho (1960). So, I thought it was interesting, but is it true?
16My films deal with a stylized, expressionistic world that has a kind of grotesque beauty about it.
17Some of my films that have gotten the worst reviews are the ones they keep talking about today, so it's hard for me to really assess the long-term effect of them. I can't take it too seriously. Basically, you're being judged against the fashion of the day and, of course, the fashion of the day changes all the time. So what endures is what's important, I guess, and I'm just very fortunate that I've made movies that seem to have endured.
18[on filming Passion (2012), with Noomi Rapace and Rachel McAdams] We had a pretty easy time casting the Isabelle part [Noomi], but it was difficult to get people to want to play the heavy - to play Christine. Because, I don't know, people don't always like to play bad, manipulative characters, even though they are the most interesting characters there are sometimes. Fortunately they had just finished [Sherlock Holmes: A Game of Shadows (2011)] and liked working together, so were fortunate to get Rachel to play this part.
19[on why he made The Bonfire of the Vanities (1990)] Making movies is not some very organic development. You're at a certain time in your life with twenty thousand reasons to make that decision. At a different time, you wouldn't make that same decision. It's where you are in your career, in your life. With The Bonfire of the Vanities, I read the book and loved it and wanted to try to adapt a book into a movie. I had made a particular sorrowful movie before, and I wanted to make something that was kind of cynical and sarcastic and not as emotional. There's a whole swirl of emotions that go into that decision. A lot of times you make movies because you don't want to think about what's happening with the movie you just made. You don't want to think about the reviews out there or about how you're going to survive the pummeling that you're getting. That's how I made the decision to make 'Bonfire'. It may not have been the right decision, but it still feels to me like it was the right decision.
20[on Al Pacino] One of the many things that makes Pacino such a fine actor is the way he moves. He's an incredible mover. When we were making Carlito's Way (1993) I couldn't wait to get out and start shooting, just to see him walk around while shooting a scene.
21I don't think I do referencing, I use ideas which I think are effective in this particular piece at the moment. If they've been used before, fine. I mean, who cares? To me, it's all grammar. If I've got that word available and it was used before and if I can use it again more effectively for my piece - why not? It's the history of art from the beginning of time. Why do you think painters still paint Chartres Cathedral? Do you think they should be painting some rock in a garden? But they have this incredible architectural thing in front of them! Are they copying, are they simulating it? Well, maybe they have a different interpretation of the piece of art that's in front of them. I mean, how unusual...
22[on The Bonfire of the Vanities (1990)] The initial conception of it was incorrect. If you're going to do The Bonfire of the Vanities you would have to make it a lot darker and a lot more cynical, but because it was such an expensive movie we tried to humanise the Sherman McCoy character - a very unlikeable character, much like the character in The Magnificent Ambersons (1942). We could have done that if we'd been making a low budget movie, but this was a studio movie with Tom Hanks in it. I think John Lithgow would have been a better choice for Sherman McCoy, because he would have got the blue-blood arrogance of the character. But I mean, nobody realised it was going wrong when we were making it. We were very enthusiastic about what we were doing. I thought we were going to get away with it, but we didn't. I knew that the people who had read the book were going to be extremely unhappy. I think if you look at the movie now, and you don't know anything about the book, and you get it out of the time that it was released, I think you can see it in a whole different way.
23I'm not interested in a lot of talk. Talk to me is very boring and a lot of people just put that up there all the time. You have many films with these long character scenes, with extremely in-depth analysis, and what you have is a lot of characters sitting around talking to each other. Which does little to excite me in terms of the possibilities of what you can do with cinema. So I have those sequences in when they're necessary, but I certainly don't structure my film around them. And most of cinema today is driven by television, which is all talk - I tend to be the counterprogramming director.
24Women are more sympathetic creatures in jeopardy, plus they're more interesting to photograph. I'd rather photograph a woman walking around with a candelabra than a guy. It's as simple as that. Somebody once said that the history of cinema was made photographing women, and I think one could truthfully say that.
25So much of shooting sex scenes in movies you a see are naked people sort of humping each other on a bed, shot in the most unflattering way just because they happen to be naked and mimicking making love. They don't really dramatize their particular sexual attraction to each other. And it's very difficult. You have to find a way, a visual way to approach scenes like that.
26[1987 comment on Robert De Niro] He's very low-key and concentrated when he's working. The thing that gets in the way of his work is people staring at him. So what you have to do on the set when he's working is to get people who are just going to gawk out of his eyeline. With the other actors, he's very tuned, very responsive.
27It's hard to make movies where you put women in peril any more. You can't really stalk women around anymore. It's very difficult. It's sort of unsettling to field a lot of hostile questions about why you keep doing this and why you dislike women so much. You say, "It's a murder mystery, I'm running out of victims." It's all right to kill men, but women are out. No one complained when I killed a man in "Sisters."
28[on Sissy Spacek] Sissy's a phantom. She has this mysterious way of slipping into a part, letting it take over her. She's got a wider range than any young actress I know.
29[on Alfred Hitchcock] He is the one who distilled the essence of film. He's like Webster. It's all there. I've used a lot of his grammar.
30I have a reputation as an action director because I know how to kill, how to shoot people, how to spill blood.
31I like stylization. I try to get away with as much as possible until people start laughing at it.
32My films deal with a stylized, expressionistic world that has a kind of grotesque beauty about it.
33I've never been accepted as that conventional artist. Whatever you say about David Lynch or Martin Scorsese, they are considered major film artists and nobody can argue with that. I've never had that. I've had people say it about me. And I've had people say that I'm a complete hack and, you know, derivative and all those catchphrases that people use for me. So I've always been controversial. People hate me or love me.
34I'm astounded there aren't more American political films. I'm amazed, when you can make movies for nothing, there are not people out there making these incredibly angry anti-war movies. How come? [Sept.2006]
35[on why he would not add rap songs to the soundtrack of Scarface (1983)] They said it would help promotion, presenting the film in a different way, but Giorgio's [composer Giorgio Moroder] music was true to the period, I argued - and no one changes the scores on movies by Martin Scorsese, John Ford, David Lean. If this is the "masterpiece" you say, leave it alone. I fought them tooth and nail and was the odd man out, not an unusual place for me. I have final cut, so that stopped them dead.
36The camera lies all the time; lies 24 times/second.

#Trademark
1[Voyeurism] Films often feature a protagonist who is voyeuristic by nature (Dressed to Kill (1980)), profession (Blow Out (1981)) or circumstance (Body Double (1984)).
2Safari Jacket
3Often shoots "tense" moments without any widening lens or zoom. When coupled with his trademark extended shot, it creates a feeling the viewer is in the scene.
4Dopplegangers (or evil twin), and femme fatales appear frequently in De Palma's films.
5The "LONG TAKE" which is usually complimented by a series of elaborate tracking shots or dolly movements
6Frequently casts Robert De Niro, William Finley, John Lithgow, 'Kevin Dunn', Richard Belzer, Steven Bauer, Gregg Henry, Dennis Franz, Gary Sinise, Al Pacino, Sean Penn and ex-wife Nancy Allen.
7[Alfred Hitchcock homage] Films frequently reference the work of Alfred Hitchcock, using similar locations, camera techniques/compositions, musical scores by Bernard Herrmann (a frequent Hitchcock collaborator), and blondes as leading ladies.
8[Split screen] Often uses split screens (created optically or using a split diopter while shooting) to build suspense and/or convey story information. This allows the audience to choose what to look at and engages them further in the story (Phantom of the Paradise (1974), Carrie (1976), Dressed to Kill (1980), Blow Out (1981), The Bonfire of the Vanities (1990), Mission: Impossible (1996), Snake Eyes (1998), Femme Fatale (2002) and The Black Dahlia (2006)).

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