Perhaps Wong’s heart softened after so many years of denying spectators that one moment of lasting desire we so often coveted in his other, greater films. Or perhaps, as some thought, what seemed nonchalant in Cantonese becomes obvious and sentimental cheese in English.
The 1989 short Isle of Flowers, a social critique about poverty in contemporary Brazil, is a direct descendant of the Cinema do Lixo movement, directed by renowned director Jorge Furtado, who remains a popular filmmaker to this day, touching upon social issues in documentary, fiction feature, and TV work.
The story goes that De Palma got extraordinarily sick of his buddies Spielberg and Lucas making the big bucks and tired of Coppola and Scorsese being exalted to the Olympus of cinematic auteurism, and that his response was a big “fuck you” to Hollywood in the shape of Body Double.
"I tried to keep the filmmaking from being distracting. Besides, when you are working with a six-person crew, you are hoping a lot of the limitations will end up serving you and add to the fragility of the story. Also, by keeping the apparatus very small, it is invisible to us when we make the film."
"Whatever you’re appropriating, you’re absorbing it, it’s filtered through your unconscious and it comes back as something else. Wong and I reference multiple things, but we’re not repeating them. Nothing is original, but it can be very personal and the angle, the intention can be very personal."