Production
After completing Dressed to Kill, De Palma was considering several projects, including Acts of Vengeance (later produced for HBO starring Charles Bronson and Ellen Burstyn), Flashdance, and a script of his own titled Personal Effects. The story outline for Personal Effects was similar to what would become Blow Out, but was set in Canada.
De Palma scripted and shot Blow Out in Philadelphia, Pennsylvania, his home town. The film's $9 million budget was high for De Palma and, Filmways spent an additional $9 million to market the film. De Palma considered Al Pacino for the role of Jack Terry, but ultimately chose John Travolta. Travolta lobbied De Palma to cast Nancy Allen for the role (the three had previously worked together on Carrie); De Palma hesitated at first—he and Allen were married at the time and did not want Allen to have a reputation for only working in her husband's pictures—but ultimately agreed. In addition to Travolta and Allen, De Palma filled the film's cast and crew with a number of his frequent collaborators: Dennis Franz (Dressed to Kill, The Fury, Body Double); John Lithgow (Obsession); cinematographer Vilmos Zsigmond (Obsession); editor Paul Hirsch (Hi, Mom!, Sisters, Phantom of the Paradise, Obsession, Carrie, The Fury); and composer Pino Donaggio (Carrie, Home Movies, Dressed to Kill).
Seventy percent of the film was shot at night. "Basically I just shot Blow Out straight," replied cinematographer Vilmos Zsigmond., "... By not diffusing and not flashing as much ... That doesn't mean I necessarily like that look but I think it was good for the picture. You see, I like a softer look, a more diffused look." During the editing process, two reels of footage from the Liberty Parade sequence were stolen and never recovered; the scenes were reshot with insurance money at a cost of $750,000. Because Zsigmond was no longer available, László Kovács lensed the reshot sequences.
Read more about this topic: Blow Out
Famous quotes containing the word production:
“An art whose limits depend on a moving image, mass audience, and industrial production is bound to differ from an art whose limits depend on language, a limited audience, and individual creation. In short, the filmed novel, in spite of certain resemblances, will inevitably become a different artistic entity from the novel on which it is based.”
—George Bluestone, U.S. educator, critic. “The Limits of the Novel and the Limits of the Film,” Novels Into Film, Johns Hopkins Press (1957)
“... this dream that men shall cease to waste strength in competition and shall come to pool their powers of production is coming to pass all over the earth.”
—Jane Addams (1860–1935)
“Perestroika basically is creating material incentives for the individual. Some of the comrades deny that, but I can’t see it any other way. In that sense human nature kinda goes backwards. It’s a step backwards. You have to realize the people weren’t quite ready for a socialist production system.”
—Gus Hall (b. 1910)