During the 1960s , De Palma began making a living producing documentary films , notably '' The Responsive Eye '' , a 1966 movie about '' The Responsive Eye '' op-art exhibit curated by William Seitz for MOMA in 1965 . In an interview with 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 . " '' Dionysus in 69 '' ( 1969 ) was De Palma 's other major documentary from this period . The film records The Performance Group 's performance of Euripides ' The Bacchae , starring , amongst others , De Palma regular 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 . 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 . " De Palma 's most significant features from this decade are '' Greetings '' ( 1968 ) and '' Hi , Mom ! '' ( 1970 ) . Both films star Robert De Niro and espouse a Leftist revolutionary viewpoint common to their era . '' Greetings '' was entered into the 19th Berlin International Film Festival , where it won a Silver Bear award . His other major film from this period is the slasher comedy '' Murder a la Mod '' . Each of these films contains experiments in narrative and intertextuality , reflecting De Palma 's stated intention to become the " American Godard " while integrating several of the themes which permeated Hitchcock 's work
19th Berlin International Film Festival
19th Berlin International Film Festival
Brian De Palma