From the New York Times

Peirce was initially surprised by Glickman’s interest in her. “Then I read ‘Carrie’ again,” she said, “and realized, Oh, these are all my issues: I deal with misfits, with what power does to people, with humiliation and anger and violence. Like Brandon, Carrie has gone through life getting beaten up by everyone. She’s got no safe place. And then she finds telekinesis — her talent, her skill — and it becomes her refuge. And I thought, Wow, this is an opportunity to make a superhero-origin story. With her period comes the power. With adolescence comes sexuality, and with sexuality comes power.”
The first thing Peirce did after getting the offer was to call DePalma, who happens to be a longtime friend. “I asked him what he thought, and he says” — here she did her best impression of his New Jersey accent — " ‘Well, you have to do it!’ ” They discussed some of the changes that would have to be made. “I couldn’t cast a 26-year-old, as he did with Sissy Spacek,” Peirce said. “Girls who are 26 don’t look that young anymore.” She ended up casting Chloë Grace Moretz, who recently turned 16, the same age as Carrie White. “You also can’t turn Carrie into a calculated killer — not in a post-Columbine, post-Virginia Tech, post-all-these-campus-tragedies world.” But she wouldn’t have wanted DePalma’s vision of robotic destruction anyway, she said, entertaining as that was. “The pure horror of that disconnected you from Carrie. I say this with all due respect to Brian, but his film is semicampy. I wanted to get inside this girl’s journey. And particularly her bond with her mother, which was huge for me.”
That bond is a doozy. For her mother, Margaret White, an evangelical Christian, Carrie is both a reminder of her turpitude and the only human connection she has. Still, it’s a kind of love. Margaret could easily stray into caricature, but in Julianne Moore, Peirce found an actress who could keep a literal Bible thumping from turning into a “Mommie Dearest” moment. “No one is the villain in her own story,” Moore told me. “One of Kim’s great strengths as a person and as a director is that she gets that.”

And this: 

Peirce recently took De Palma to dinner to compare notes on the making of their respective versions of “Carrie.” “We were talking about the pig-blood dump,” she said. “I asked him how he did the scene. He said, ‘What are you talking about?’ I explained that we went through five-gallon, four-gallon and three-gallon buckets. We tried a five-foot drop, a three-foot drop and a four-foot drop. We had a butterfly opening, we had three cameras and on and on. And he said: ‘I don’t know. Jack” — Fisk, the art director — “was on a ladder, and he poured a bucket of blood.’ And I asked him how many takes he did. ‘What do you mean? We did one.’ ” Peirce laughed. They talked about the diminishing power of directors. “You know what Brian said to me when I told him what’s going on now? ‘Oh, we were kings!’ ”


There is tons more about her previous films and her very interesting life HERE

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