Director of American cinema, born in Newark, New Jersey (United States), on September 11, 1940.
Son of a surgeon, studied fine arts and physics at Columbia University. The first thing gave him some concern for aesthetics and composition; the second, I mere pleasure. It was during his tenure at Columbia when he began experimenting with film. In 1962, the short film Watan completo Wake would provide several awards. A from then on, everything they had learned and what would learn in the future, reconvertiría in an extensive filmography which even today is still giving you brilliant moments. This stage of his career would end with obtaining the doctorate in physical sciences and Master of cinema in the Sarah Lawrence College of Bronville (New York).
If there is a director who has clear are their issues, that's De Palma. One of his early obsessions is the duality in its many manifestations. In 1973 directed sisters, the story of two sisters who were Siamese and collecting the double personality of the classic "Dr. Jeckyll and Mr. Hyde", theme that will recall years later in the name of Cain. Dressed to kill explored the theme with the lure of a different view of things, exactly from the inside of the scene, where the spectator can become a participant over the history, situation that also invites a body double. Interest in personalities with some special power and marginalized by it, allowed him to deal with the horror genre, where Carrie and the fury can be placed. Their special conception of the father figure, and even repressed incest, makes appearance in titles as the price of power, obsession, in the name of Cain and the fury.
One of his favorite subjects is, however, "voyeurism", which developed in several of his films like Hi Mom!, body double, Vestida to kill or impact. But De Palma does not address only issues that can be identified in a particular type of character, but it also focuses on the American myths and social tensions that contribute to their destruction. Thus impact, hearts of stone, the price of power, the untouchables, or the bonfire of the vanities is a stroll through the falseness of the American dream, men which vitiate them and those who try to do justice with them. It is difficult, however, to pigeonhole their titles on a specific subject, because De Palma does not ever a film to present an idea, they serve you pot to their concerns.
What unites almost all is undoubtedly yielded devotion to Hitchcock. Palm takes borrowed shamelessly themes, characters, references, scenes or ways to set the tension and suspense. Traces of the master are located along all his filmography. It is precisely "voyeurism" a debt to the rear window. Obsession, which he directed in 1976, is clearly a "remake" of Vertigo, and Ambrose Chapel takes the title of one of the characters in the man who knew too much. In the same way it alludes to psychosis in the Phantom of the paradise, and in the name of Cain. But in reality all reference, film or, invalid for De Palma. Other films and other directors, such as Michael Powell with the photographer of the panic and Jules Dassin with famous scenes of tension in which there is no dialogue, helped you out his films. From the television series as mission impossible or the untouchables, up to events real as he presented in his article for the New Yorker, Daniel Lang in 1969 and which would serve to roll hearts of stone, have contributed in the development of their stories.
Apart from being too attentive to insert part of the Hitchcock films on his filmography, Brian De Palma has been accused of incorporate violence into his film too explicitly and he responds to this accusation alleging that what actually incorporates is the theory of Eisenstein on the Assembly, claiming that the movie is violence. His peculiar way of making films through black humor, his inventiveness and dynamism which leads him to use all the means in its films available to demonstrate that there is a cinematographic language.
His first films, independent court, served as the breeding ground for actors like Robert De Niro, Jill Clayborough, or Charles Durning with which he has repeated throughout his filmography. Although Carrie was his first commercial film, it was not until mission impossible when De Palma got to reconcile fully with Hollywood and the American industry. Despite its flaws of script and special effects, he provided spectacle and Tom cruise the Golden Laurel award won for best actor. Palm continues to be one of the points of reference of American cinema today.
In the 64th Edition of the Venice International Film Festival (2007) won the silver (best direction) by Redacter lion.
Short and medium-length films: 1960: Icarus.1961: 660124, The story of IBM card. 1962: Wotan completo wake. 1965: Bridge that gap. 1966: Show me a strong town and i'll show you a strong bank. 1967: The responsive eye.
Feature films: 1967: The wedding party (screenwriter, producer, Assembly). 1968: Murder at the mod; Greetings (screenwriter, Assembly). 1970: Hi, MOM! (scriptwriter). 1972: Get to Know Your Rabbit. 1973: Sisters (writer). 1974: the Phantom of the Paradise (screenwriter). 1976: Carrie; Fascinacion.1978: Fury. 1979: Home Movies. 1980: Dressed to kill (screenwriter). 1981: impact (scriptwriter). 1983: the price of power. 1984: Double body (screenwriter, producer). 1986: two great types. 1987: The untouchables. 1989: Hearts of iron. 1990: The bonfire of the vanities (producer). 1992: in the name of Cain (scriptwriter). 1993: trapped by their past. 1995: Mission impossible. 1998: Snake Eyes (producer); Ambrose Chapel (screenwriter, producer); Falling Sky (scriptwriter). 1999: mission to Marte.2003: Femme Fatale.2006: dalia negra.2007: Redacter.
As director of photography and editing: 1969: Dionysus in ' 69.
As an actor: 1994: Rotwang muß weg!