Editing Brian De Palma (section)

===1963–1976: Rise to prominence ===
An early association with a young [[Robert De Niro]] resulted in ''[[The Wedding Party (1969 film)|The Wedding Party]]''. The film, co-directed with [[Wilford Leach]] and producer Cynthia Munroe, had been shot in 1963 but remained unreleased until 1969,<ref>{{cite book |last=Brode |first=Douglas |date=2001 |title=The Films of Robert DeNiro |url=https://books.google.com/books?id=aRZ92rXdANgC&pg=PA23 |location=New York |publisher=[[Citadel Press]] |page=23 |isbn=0-8065-2110-4}}</ref> when De Palma's star had risen sufficiently in the [[Greenwich Village]] filmmaking scene. De Niro was unknown at the time; the credits mistakenly display his name as "Robert {{sic|hide=y|Den|ero}}".{{sfn|Brode|2001|p=23}} The film is noteworthy for its invocation of silent film techniques and use of the [[jump-cut]].<ref>{{cite news |last=Ditlea |first=Steve |date=April 28, 1969 |title=Brian De Palma is a revolutionary |url=http://spectatorarchive.library.columbia.edu/cgi-bin/columbia?a=d&d=cs19690428-01.2.35 |work=[[Columbia Daily Spectator]] |volume=CXIII |access-date=January 29, 2017}}</ref> De Palma followed this style with various small films for the [[NAACP]] and the [[U.S. Treasury Department|Treasury Department]].<ref>{{cite news |last=Lester |first=Peter |date=October 22, 1979 |title=Director Brian De Palma and Actress Nancy Allen Just Got Carrie-D Away |url=https://people.com/archive/director-brian-de-palma-and-actress-nancy-allen-just-got-carrie-d-away-vol-12-no-17/ |work=[[People (magazine)|People]] |access-date=January 29, 2017}}</ref>

During the 1960s, De Palma began making a living producing documentaries, notably ''The Responsive Eye'' (1966), about ''[[The Responsive Eye]]'' [[op-art]] exhibit curated by William Seitz for [[MoMA]] in 1965. In an interview with Joseph Gelmis from 1969, De Palma described the film as "very good and very successful. It's distributed by Pathe Contemporary and makes lots of money. I shot it in four hours, with synched sound. I had two other guys shooting people's reactions to the paintings, and the paintings themselves."<ref>{{Cite book|last=Gelmis |first=Joseph |title=The Film Director as Superstar |url=https://archive.org/details/filmdirectorassu0000gelm |url-access=registration |year=1970 |publisher=[[Doubleday (publisher)|Doubleday]] |location=Garden City, NY |page=[https://archive.org/details/filmdirectorassu0000gelm/page/24 24]}}</ref>

''[[Dionysus in '69]]'' (1969) was De Palma's other major documentary from this period. The film records [[the Performance Group]]'s performance of [[Euripides]]'s ''[[The Bacchae]]'', starring, amongst others, De Palma regular [[William Finley (actor)|William Finley]]. The play is noted for breaking traditional barriers between performers and audience. The film's most striking quality is its extensive use of the [[Split screen (video production)|split-screen]]. De Palma recalls that he was "floored" by this performance upon first sight, and in 1973 recounts how he "began to try and figure out a way to capture it on film. I came up with the idea of split-screen, to be able to show the actual audience involvement, to trace the life of the audience and that of the play as they merge in and out of each other."<ref>{{cite book|last= Knapp |first=Lawrence |title=Brian De Palma Interviews |year=2003 |publisher=[[University Press of Mississippi]] |location=Jackson, MS |page=26}}</ref>

De Palma's most significant features from this decade are ''[[Greetings (1968 film)|Greetings]]'' (1968) and ''[[Hi, Mom!]]'' (1970). Both films star De Niro and espouse a [[leftist]] [[revolutionary]] viewpoint in the spirit of the time. ''Greetings'' was entered into the [[19th Berlin International Film Festival]], where it won a [[Silver Bear]] award.<ref name="berlinale 1969">{{Cite web| title=Berlinale 1969: Prize Winners |url=http://www.berlinale.de/en/archiv/jahresarchive/1969/03_preistr_ger_1969/03_Preistraeger_1969.html |access-date=March 6, 2010 |work=berlinale.de}}</ref> His other major film from this period is the slasher comedy ''[[Murder a la Mod]]'' (1968). Each of these films experiments with narrative and [[intertextuality]], reflecting De Palma's stated intention to become the "American [[Jean-Luc Godard| Godard]]".<ref>{{cite book| title=Everything Is Cinema: The Working Life of Jean-Luc Godard| last=Brody| first=Richard| author-link=Richard Brody| page=323}}</ref>

In 1970, De Palma left New York for Hollywood at age thirty to make ''[[Get to Know Your Rabbit]]'' (1972), starring [[Orson Welles]] and [[Tommy Smothers]]. Making the film was a crushing experience for De Palma, as Smothers did not like many of De Palma's ideas.<ref name="Salamon26">Salamon, p. 26.</ref> Here he made several small, studio and independently released films. Among them were the horror film [[Sisters (1972 film)| ''Sisters'']] (1972), the rock musical ''[[Phantom of the Paradise]]'' (1974) and [[Obsession (1976 film)|''Obsession'']] (1976), a variation on theme of [[Alfred Hitchcock]]'s [[Vertigo (film)|''Vertigo'']] (1958) scored by Hitchcock's frequent collaborator [[Bernard Herrmann]].