Brian De Palma Net Worth
Brian De Palma Net Worth is
$65 Million
Brian De Palma Bio/Wiki, Net Worth, Married 2018
Brian Russell De Palma (created September 11, 1940) is an American film director and screenwriter. In a career spanning over 40 years, he’s likely famous for his suspense and crime thriller movies. While “Greetings” accentuated its diverse cast, Hi, Mom! focuses on De Niro’s character, Jon Rubin, an essential carryover from your last picture. The movie is finally important insofar as it shows the initial enunciation of De Palma’s style in most its important characteristics — voyeurism, guilt, as well as a hyper-consciousness of the medium are all on full display, not just as hallmarks, but assembled into this proper, substance equipment itself. This sequence parodies cinma vrit, the dominant documentary convention of the 1960s, while concurrently giving the audience with a visceral and disturbingly mental encounter. De Palma describes the sequence as a continuous invocation of Brechtian distanciation: “First of all, I’m interested in the medium of film itself, and I’m continuously standing exterior and making individuals conscious that they’re consistently seeing a movie. In exactly the same time I will be developing it. In Hi, Mom! For example, there’s a sequence where you’re clearly seeing a silly documentary and you might be told that and you might be conscious of it, but nonetheless, it still sucks you in. There’s some sort of Brechtian alienation thought here: you understand that which you’re seeing at once that you’re emotionally involved by it.”
Brian De Palma Net Worth $65 Million Dollars
| Full Name | Brian De Palma |
| Net Worth | $65 Million |
| Date Of Birth | September 11, 1940 (age 74 |
| Place Of Birth | Newark, New Jersey, United States |
| Height | 5 ft 10 in (1.8 m) |
| Profession | Film director, Screenwriter, Actor, Film Producer, Film Editor, Writer |
| Education | Friends' Central School, Sarah Lawrence College, |
| Nationality | United States of America |
| Spouse | Darnell Gregorio-De Palma (m. 1995–1997), Gale Anne Hurd (m. 1991–1993), Nancy Allen (m. 1979–1984) |
| Children | Piper De Palma, Lolita de Palma |
| Parents | Vivienne DePalma, Anthony F. DePalma |
| Siblings | Bart DePalma |
| Nicknames | Brian DePalma , Brian Russell De Palma , Bri |
| Awards | Silver Lion for Best Director, Future Film Festival Digital Award, Youth Jury Award |
| Nominations | Golden Lion, Grand Jury Prize, Best Screenplay Award, César Award for Best Foreign Film, Hugo Award for Best Dramatic Presentation, Writers Guild of America Award for Best Original Comedy |
| Movies | "Carrie", "Dressed to Kill", "Blow Out", "Scarface", "The Untouchables", "Carlito's Way", "Mission: Impossible", "Passion", "Citizen Kane", "Vertigo" |
| TV Shows | "Dionysus in 69" (1969), "The Responsive Eye" (1966), "Greetings" (1968), "Hi, Mom!" (1970) |
| Star Sign | Virgo |
| # | 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)). |
| 2 | Safari Jacket |
| 3 | Often 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. |
| 4 | Dopplegangers (or evil twin), and femme fatales appear frequently in De Palma's films. |
| 5 | The "LONG TAKE" which is usually complimented by a series of elaborate tracking shots or dolly movements |
| 6 | Frequently 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)). |
| # | Quote |
|---|---|
| 1 | What'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] |
| 5 | A 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] |
| 6 | You 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] |
| 7 | I 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] |
| 8 | Well, 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] |
| 11 | I 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] |
| 14 | A 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? |
| 16 | My films deal with a stylized, expressionistic world that has a kind of grotesque beauty about it. |
| 17 | Some 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. |
| 21 | I 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. |
| 23 | I'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. |
| 24 | Women 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. |
| 25 | So 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. |
| 27 | It'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. |
| 30 | I have a reputation as an action director because I know how to kill, how to shoot people, how to spill blood. |
| 31 | I like stylization. I try to get away with as much as possible until people start laughing at it. |
| 32 | My films deal with a stylized, expressionistic world that has a kind of grotesque beauty about it. |
| 33 | I'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. |
| 34 | I'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. |
| 36 | The camera lies all the time; lies 24 times/second. |
| # | Fact |
|---|---|
| 1 | Brian De Palma was one of film critic Pauline Kael's favorite directors, and she was also a fan of many of his films. |
| 2 | Two of Brian De Palma's films are based on television shows: The Untouchables (1987) and Mission Impossible (1996). |
| 3 | Though 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). |
| 4 | Brian De Palma is the godfather of Steven Spielberg and Amy Irving's son Max. |
| 5 | Is a democrat. |
| 6 | Has 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. |
| 7 | Two of Brian De Palma's films, Sisters (1973) and Blow Out (1981), are in the Criterion Collection. |
| 8 | Holds 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. |
| 9 | In Bulgaria, looking for locations for his current project - The Black Dahlia (2006). [November 2004] |
| 10 | Has 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. |
| 11 | Revealed 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. |
| 12 | His three favorite films are Lawrence of Arabia (1962), The Red Shoes (1948) and Vertigo (1958). |
| 13 | Received a special thanks credit in Mean Streets (1973) for introducing Martin Scorsese and Robert De Niro to one another. |
| 14 | Ex-stepfather of The O.C. (2003) actress Willa Holland and Brianna Holland. |
| 15 | Has never contributed an audio commentary track to his DVDs. |
| 16 | Wrote the role of the call girl in Dressed to Kill (1980) specifically with his then wife Nancy Allen in mind. |
| 17 | Is a huge fan of Bruce Springsteen and directed him in the music video "Dancing in the Dark". |
| 18 | Italian-American. |
| 19 | Younger brother of photographer Bart DePalma. |
| 20 | Second daughter, Piper De Palma, born October 21 1996 in Palo Alto, California. |
| 21 | First child with Gale Anne Hurd, Lolita, born September 19, 1991. |
| 22 | In 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). |
| 23 | Uncle of actor Cameron De Palma. |
| 24 | De 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. |
| 25 | De Palma graduated from Friends' Central School, a small quaker school outside of Philadelphia |
| 26 | Won 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). |
Director
| Title | Year | Status | Character |
|---|---|---|---|
| Lights Out | 2017 | pre-production | |
| Domino | filming | ||
| Passion | 2012 | ||
| Redacted | 2007 | ||
| The Black Dahlia | 2006 | ||
| Femme Fatale | 2002 | ||
| Bruce Springsteen: The Complete Video Anthology 1978-2000 | 2001 | Video documentary video "Dancing in the Dark" | |
| Mission to Mars | 2000 | ||
| Snake Eyes | 1998 | ||
| Mission: Impossible | 1996 | ||
| Carlito's Way | 1993 | ||
| Raising Cain | 1992 | ||
| The Bonfire of the Vanities | 1990 | as Brian DePalma | |
| Casualties of War | 1989 | as Brian DePalma | |
| Bruce Springsteen: Video Anthology 1978-1988 | 1989 | Video documentary video "Dancing in the Dark" | |
| The Untouchables | 1987 | ||
| Wise Guys | 1986 | ||
| Frankie Goes to Hollywood: Relax, Version 3 | 1984 | Video short | |
| Body Double | 1984 | ||
| Bruce Springsteen: Dancing in the Dark | 1984 | Video short | |
| Scarface | 1983 | ||
| Blow Out | 1981 | ||
| Dressed to Kill | 1980 | ||
| Home Movies | 1979 | ||
| The Fury | 1978 | as Brian DePalma | |
| Carrie | 1976 | ||
| Obsession | 1976 | ||
| Phantom of the Paradise | 1974 | ||
| Sisters | 1972 | ||
| Get to Know Your Rabbit | 1972 | ||
| Hi, Mom! | 1970 | as Brian DePalma | |
| Dionysus in '69 | 1970 | ||
| The Wedding Party | 1969 | ||
| Greetings | 1968 | ||
| Murder à la Mod | 1968 | ||
| Show Me a Strong Town and I'll Show You a Strong Bank | 1966 | Short | |
| The Responsive Eye | 1966 | Documentary short | |
| Bridge That Gap | 1965 | Short | |
| Jennifer | 1964 | Short | |
| Woton's Wake | 1962 | Short | |
| 660124: The Story of an IBM Card | 1961 | Short | |
| Icarus | 1960 | Short |
Writer
| Title | Year | Status | Character |
|---|---|---|---|
| Passion | 2012 | written by | |
| Redacted | 2007 | written by | |
| Sisters | 2006/I | based on an original story / screenplay | |
| Femme Fatale | 2002 | written by | |
| Snake Eyes | 1998 | story | |
| Raising Cain | 1992 | written by | |
| Body Double | 1984 | screenplay / story | |
| Blow Out | 1981 | written by | |
| Dressed to Kill | 1980 | written by | |
| Home Movies | 1979 | story | |
| Obsession | 1976 | story | |
| Phantom of the Paradise | 1974 | written by | |
| Sisters | 1972 | original story / screenplay | |
| Hi, Mom! | 1970 | screenplay - as Brian DePalma / story - as Brian DePalma | |
| The Wedding Party | 1969 | writer | |
| Greetings | 1968 | written by | |
| Murder à la Mod | 1968 | writer |
Producer
| Title | Year | Status | Character |
|---|---|---|---|
| Snake Eyes | 1998 | producer | |
| The Bonfire of the Vanities | 1990 | producer - as Brian DePalma | |
| Body Double | 1984 | producer | |
| Home Movies | 1979 | producer | |
| Carrie | 1976 | producer - uncredited | |
| The Wedding Party | 1969 | producer |
Actor
| Title | Year | Status | Character |
|---|---|---|---|
| The Black Dahlia | 2006 | Elizabeth's Screen Test Director (voice, uncredited) | |
| Scene by Scene | 1998 | TV Series | |
| Rotwang muß weg! | 1994 | Famous American movie director | |
| The Great O'Grady | 1993 | TV Short | Ambulance Attendant |
| Greetings | 1968 | Man in front of draft office smoking (uncredited) |
Editor
| Title | Year | Status | Character |
|---|---|---|---|
| Dionysus in '69 | 1970 | ||
| The Wedding Party | 1969 | ||
| Greetings | 1968 | ||
| Murder à la Mod | 1968 | ||
| The Responsive Eye | 1966 | Documentary short |
Cinematographer
| Title | Year | Status | Character |
|---|---|---|---|
| Dionysus in '69 | 1970 | ||
| The Responsive Eye | 1966 | Documentary short |
Miscellaneous
| Title | Year | Status | Character |
|---|---|---|---|
| Body Double | 1984 | presenter | |
| The First Time | 1983 | creative consultant |
Thanks
| Title | Year | Status | Character |
|---|---|---|---|
| Mysteria | 2016 | Short dedicatee | |
| Slit | 2015 | Short acknowledgments | |
| Dans met de Duivel | 2015 | special thanks | |
| Nosferatu vs. Father Pipecock & Sister Funk | 2014 | special thanks | |
| American Federale | 2013 | Documentary special thanks | |
| From the Darkness Theatre | 2013 | Short special thanks - as Brian DePalma | |
| Walk of Fame | 2012 | Video short special thanks | |
| Him Indoors | 2012 | Short special thanks | |
| Dream House | 2009 | Video short special thanks | |
| Little Red Riding Hood | 2009/I | Video short special thanks | |
| Chef Tony Montana | 2008 | Video short very special thanks | |
| Death Proof | 2007 | special thanks | |
| Away from Her | 2006 | special thanks | |
| Running Scared | 2006 | film dedicated to | |
| The Making of 'Carlito's Way' | 2003 | Video documentary short special thanks | |
| Femme Fatale: Dream Within a Dream | 2003 | Video documentary short special thanks | |
| Engine Trouble | 2002/I | special thanks | |
| Eriksson's War: A Talk with Actor Michael J. Fox | 2001 | Video documentary short special thanks | |
| Stir of Echoes | 1999 | special thanks | |
| Mr. Jealousy | 1997 | special thanks - as Brian DePalma | |
| Double Negative | 1985 | Short special thanks - as Brian DePalma | |
| Mean Streets | 1973 | special thanks |
Self
| Title | Year | Status | Character |
|---|---|---|---|
| Noah Baumback and Brian DePalma on Dressed to Kill | 2015 | Video documentary short | Himself |
| De Palma | 2015 | Documentary | Himself |
| Brian De Palma Backstage at the Paradise | 2014 | Video documentary short | |
| Inside Story: Scarface | 2013 | TV Movie documentary | Himself |
| The Hour | 2013 | TV Series | Himself |
| Janela Indiscreta | 2013 | TV Series | Himself |
| The Scarface Phenomenon | 2011 | Video documentary | Himself |
| Godard Made in USA | 2010 | TV Movie documentary | Himself |
| Irak-Afganistán, la guerra llega al cine | 2008 | TV Movie documentary | Himself |
| Días de cine | 1996-2007 | TV Series | Himself |
| La nit al dia | 2007 | TV Series | Himself |
| Body Double: The Controversy | 2006 | Video documentary short | Himself |
| Body Double: The Mystery | 2006 | Video documentary short | Himself |
| Body Double: The Seduction | 2006 | Video documentary short | Himself |
| Body Double: The Setup | 2006 | Video documentary short | Himself |
| Breakfast with the Arts | 2006 | TV Series | Himself |
| Mission: Catching the Train | 2006 | Video short | Himself |
| Mission: Explosive Exploits | 2006 | Video short | Himself |
| Mission: Remarkable - 40 Years of Creating the Impossible | 2006 | Video documentary short | Himself |
| Paradise Regained: Brian de Palma's 'Phantom of the Paradise' | 2006 | Video documentary | Himself |
| Bullets Over Hollywood | 2005 | TV Movie documentary | Himself |
| Carlito's Way: Brian De Palma on 'Carlito's Way' | 2005 | Video short | Himself |
| Backstory | 2005 | TV Series documentary | Himself |
| The Untouchables: Production Stories | 2004 | Video documentary short | Himself |
| The Untouchables: Re-Inventing the Genre | 2004 | Video documentary short | Himself |
| The Untouchables: The Classic | 2004 | Video documentary short | Himself |
| The Untouchables: The Script, the Cast | 2004 | Video documentary short | Himself |
| Sisters, l'autopsie | 2004 | Video documentary short | Himself |
| Unseen + Untold: Scarface | 2003 | TV Movie documentary | Himself |
| Scarface: Acting | 2003 | Video documentary short | Himself |
| Scarface: Creating | 2003 | Video documentary short | Himself |
| Scarface: The Rebirth | 2003 | Video documentary short | Himself |
| The Making of 'Carlito's Way' | 2003 | Video documentary short | Himself |
| Femme Fatale: Dream Within a Dream | 2003 | Video documentary short | Himself - Writer / Director |
| Femme Fatale: From Dream to Reality | 2003 | Video short | Himself |
| The Making of 'Femme Fatale' | 2003 | Video short | Himself |
| Day for Night: Truffaut in the USA | 2003 | Video documentary short | Himself |
| Comme au cinéma | 2002 | TV Series documentary | Himself |
| The Making of 'Casualties of War' | 2001 | Video documentary short | Himself |
| Acting 'Carrie' | 2001 | Video documentary short | Himself |
| Slashing 'Dressed to Kill' | 2001 | Video documentary short | Himself |
| The Making of 'Dressed to Kill' | 2001 | Video documentary short | Himself |
| Visualizing 'Carrie' | 2001 | Video documentary short | Himself |
| 'Obsession' Revisited | 2001 | Video documentary short | Himself |
| Vol de nuit | 2000 | TV Series | Himself |
| Hitchcock: Shadow of a Genius | 1999 | TV Movie documentary | Himself |
| Charlie Rose | 1998 | TV Series | Himself - Guest |
| The Making of 'Scarface' | 1998 | Video documentary | Himself |
| Gomorron | 1996 | TV Series | Himself |
| A Personal Journey with Martin Scorsese Through American Movies | 1995 | TV Movie documentary | Himself |
| American Cinema | 1995 | TV Series documentary | Himself |
| Ennio Morricone | 1995 | TV Movie documentary | Himself |
| Cinema 3 | 1990-1994 | TV Series | Himself |
| Cinéma, de notre temps | 1993 | TV Series documentary | Himself |
| Reflections on 'Citizen Kane' | 1991 | TV Short documentary | Himself |
| The Dick Cavett Show | 1978 | TV Series | Himself |
Archive Footage
| Title | Year | Status | Character |
|---|---|---|---|
| Ebert Presents: At the Movies | 2011 | TV Series | Himself |
| Who Is Alan Smithee? | 2002 | TV Movie documentary | Himself (uncredited) |
Won Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2015 | Jaeger-LeCoultre Glory to the Filmmaker Award | Venice Film Festival | ||
| 2008 | Youth Jury Award | Amnesty International Film Festival | Redacted (2007) | |
| 2007 | Critics Award | French Syndicate of Cinema Critics | Best DVD Single Disc | Phantom of the Paradise (1974) |
| 2007 | Future Film Festival Digital Award | Venice Film Festival | Redacted (2007) | |
| 2007 | Silver Lion | Venice Film Festival | Redacted (2007) | |
| 1990 | Stinker Award | The Stinkers Bad Movie Awards | Worst Picture | The Bonfire of the Vanities (1990) |
| 1988 | Blue Ribbon Award | Blue Ribbon Awards | Best Foreign Language Film | The Untouchables (1987) |
| 1977 | Grand Prize | Avoriaz Fantastic Film Festival | Carrie (1976) | |
| 1975 | Grand Prize | Avoriaz Fantastic Film Festival | Phantom of the Paradise (1974) | |
| 1969 | Silver Berlin Bear | Berlin International Film Festival | Greetings (1968) |
Nominated Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2012 | Golden Lion | Venice Film Festival | Passion (2012) | |
| 2007 | Golden Lion | Venice Film Festival | Redacted (2007) | |
| 2006 | Stinker Award | The Stinkers Bad Movie Awards | Worst Sense of Direction (Stop them before they direct again!) | The Black Dahlia (2006) |
| 2006 | Golden Lion | Venice Film Festival | The Black Dahlia (2006) | |
| 2002 | Best Film | Sitges - Catalonian International Film Festival | Femme Fatale (2002) | |
| 2001 | Razzie Award | Razzie Awards | Worst Director | Mission to Mars (2000) |
| 1992 | Golden Lion | Venice Film Festival | Raising Cain (1992) | |
| 1991 | Razzie Award | Razzie Awards | Worst Picture | The Bonfire of the Vanities (1990) |
| 1991 | Razzie Award | Razzie Awards | Worst Director | The Bonfire of the Vanities (1990) |
| 1988 | César | César Awards, France | Best Foreign Film (Meilleur film étranger) | The Untouchables (1987) |
| 1985 | Razzie Award | Razzie Awards | Worst Director | Body Double (1984) |
| 1984 | Razzie Award | Razzie Awards | Worst Director | Scarface (1983) |
| 1981 | Saturn Award | Academy of Science Fiction, Fantasy & Horror Films, USA | Best Director | Dressed to Kill (1980) |
| 1981 | Razzie Award | Razzie Awards | Worst Director | Dressed to Kill (1980) |
| 1980 | NYFCC Award | New York Film Critics Circle Awards | Best Director | Dressed to Kill (1980) |
| 1977 | Hugo | Hugo Awards | Best Dramatic Presentation | Carrie (1976) |
| 1975 | Hugo | Hugo Awards | Best Dramatic Presentation | Phantom of the Paradise (1974) |
| 1975 | WGA Award (Screen) | Writers Guild of America, USA | Best Comedy Written Directly for the Screen | Phantom of the Paradise (1974) |
| 1970 | Golden Berlin Bear | Berlin International Film Festival | Dionysus in '69 (1970) | |
| 1969 | Golden Berlin Bear | Berlin International Film Festival | Greetings (1968) |
2nd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 1989 | NYFCC Award | New York Film Critics Circle Awards | Best Director | Casualties of War (1989) |
Known for movies
Scarface (1983)
as Director
Mission: Impossible (1996)
as Director
The Untouchables (1987)
as Director
Carlito's Way (1993)
as Director