This chapter chronicles a shift in De Palma's films with Sisters (1973), which marked a departure of influences from Godard to Hitchcock, and a change of genres from political satire to the psychological suspense thriller. Having worked episodic, freewheeling narratives, handheld tracking shots, and semi-improvisational dialogue into his previous films, he decided to try his hand at a tighter script, a more structured plot (one that was carefully storyboarded) and experiments in editing. His low-budget comedies had been shot in long takes for efficiency's sake, which De Palma believed made them come across as “long and talky. It bothers me. I like films that use cuts to build suspense.” Cuts—related to both montage and murder—would certainly be central to Sisters.
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