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Here are 15 things we learned from this essential new doc.Orson Welles Didn't Know His Lines in De Palma's early, absurdist 1972 comedy sees Tom Smothers leave the stress of his routine life to become a tap dancing magician under the tutelage of, yes, Orson Welles.Her photos include pictures of her shopping in luxury boutiques and occasionally snaps of her children, sometimes lying with hundreds of banknotes surrounding them in the bath or on the bed.Felix is apparently now the leader of the “Los Antrax” hit squad that works for the Mexican Sinaloa cartel – which is one of the main sources of heroin in America.In the novelette, Athena, a normal girl in campus, is forced by Kenji, the campus’ top mischief-maker, to pretend to be his girlfriend to make his ex, who is also named Athena, jealous enough to want to come back to him.As with all love stories of this type, the pretences dissipate, giving way for what seems to be true love, which would be abruptly stopped by some mean twist of fortune, which in this very unoriginal case, is a fatal disease."You just look at it and you say, ' This isn't right.This is sloppy.'" De Palma was forced to shoot Welles' scenes repeatedly until the legendary actor-director nailed his part: "I'm in my 20s [and] I'm going ' Holy Mackerel.' I'm telling Orson Welles he's gotta do this thing again." Bernard Herrmann Scared the Crap Out of Him While editing composed by Hitchcock's favorite composer Bernard Herrmann, as a temporary guideline for what he was looking for in his own film.

“I was getting involved in the drugs side of things.

But there was one problem: the man behind could never remember his lines.

"We had cue cards all over the place and I'd never seen this before," the director says.

Noah Baumbach and Jake Paltrow's engrossing new documentary about the life and career of controversial filmmaker Brian De Palma (opening in theaters on June 10th), couldn't be simpler: The 75-year-old director dissects most of his films and shares analyses and behind-the-scenes anecdotes in between clips.

Forget talking-head testimonials from collaborators, flashy visuals or dramatic reenactments.


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