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Paul Thomas Anderson / Re: Influences on each film
« Last post by Lottery on Yesterday at 09:55:06 PM »
Quick summary from Cigs and Red Vines PTA interview for The Master, many of these influences have already been mentioned in the thread.

You’ve talked about the doc “Let There Be Light” and book “At Ease: Navy Men Of WWII” as being great reference points but can you talk about any other books/films/art that inspired “The Master”?

It's always such a long list.....sometimes it's whatever was on TV that morning. Other times, it's something i'm really into. tons of old film noir's. Out of the Past, dark Corner, Mr. Arkadin, Lady from Shanghai, etc. Nightmare Alley! Val Lewton stuff like Seventh Victim and Ghost Ship. Dianetics in Limbo by Helen O'Brien. Helen Forrest/Kitty Kallen and anything by Jo Stafford music wise. also listened over and over to Stravinsky piece "Ebony Concerto." Duke Ellington - Peer Gynt Suite. list goes on.....oh! how about John O'Hara short stories. earlier drafts have a slight adaption of one of his stories, "Bucket of Blood" I think. great short story.
...All that stuff with Alligators in sewers was stolen from Pynchon's V. We looked around some sewers in upstate New York...... eventually decided to ditch the whole story line in writing before spending money and time on something unnecessary to the Main Event.

We know it was always a semi-regular sing along at the old Largo but how did “Slow Boat To China” come to you as the climax of the film?

Can't remember the moment of decision for sure....but i think i was influenced by a tapestry on a bathroom wall i saw at a house i was staying at in Gloucster, Mass. great fishing/sailing town and the tapestry was about Sailors and Lighthouses lighting up the was a little poem with a lighthouse on it....reminded me of Slow Boat to China the way it rhymed......that's probably the connection. kept going back to that bathroom while writing and then presto -chango - you've got Master's serenade.

From memory, one of the most commonly heard influence/inspirations from this period was TCM.
Paul Thomas Anderson / Re: Phantom Thread - Awards ticker
« Last post by wilberfan on Yesterday at 08:29:16 PM »
Boston Society of Film Critics

Best Picture: Phantom Thread
Best Actor: Daniel Kaluuya for Get Out
Best Actress: Sally Hawkins for The Shape of Water
Best Supporting Actor: Willem Dafoe for The Florida Project
Best Supporting Actress: Laurie Metcalf for Lady Bird
Best Director: Paul Thomas Anderson for Phantom Thread
Best Screenplay: Greta Gerwig for Lady Bird
Best Cinematography: Hoyte Van Hoytema for Dunkirk
Best Documentary: Dawson City: Frozen in Time
Best Foreign-Language Film (awarded in memory of Jay Carr): The Square
Best Animated Film: Coco
Best Film Editing (awarded in memory of Karen Schmeer): David Lowery for A Ghost Story
Best New Filmmaker (awarded in memory of David Brudnoy): Jordan Peele for Get Out
Best Ensemble Cast: The Meyerowitz Stories
Best Original Score: Jonny Greenwood for Phantom Thread

New York Film Critics Online

Best Picture (TIE)
The Florida Project

Best Director
Dee Rees, Mudbound

Best Actor
Gary Oldman, Darkest Hour

Best Actress
Margot Robbie, I, Tonya

Best Supporting Actor
Willem Dafoe, The Florida Project

Best Supporting Actress
Allison Janney, I, Tonya

Bes Screenplay
Jordan Peele, Get Out

Best Breakthrough Performer
Timothée Chalamet, Call Me By Your Name

Best Debut Director
Jordan Peele, Get Out

Best Ensemble Cast

Best Documentary
Bombshell: The Hedy Lamarr Story

Best Foreign Language
In the Fade

Best Animated

Best Cinematography
Dan Laustsen, The Shape of Water

Best Use of Music
Steven Price (music by) and Kristen Lane (music supervisor), Baby Driver

Top 10 Films of 2017
Call Me by Your Name
The Florida Project
Get Out
I, Tonya
Lady Bird
Phantom Thread
The Post
The Shape of Water
Paul Thomas Anderson / Re: Phantom Thread
« Last post by boogienights on Yesterday at 08:20:44 PM »
As if it isn't bad enough we have to wait till the 19th, we also have to settle for DCP projection while NY/LA flaunts 70MM prints.

DCP is fine, I actually think blowing up 35mm to 70 is dumb, like someone else said I saw Inherent Vice on 70mm looked just like a 35mm projection.

I think 35mm screenings would be cooler, but having seen it on 35mm I actually would like to see it next on a DCP, soak in the photography from a perfect scan. Just my opinion though, great film no matter how you see it though.
Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by wilberfan on Yesterday at 07:43:35 PM »
That was an excellent read!  Thanks for taking the time.

There are weddings in so many PTA films! Boogie. Blood. Master. Phantom. And offscreen marriage in Hard Eight too, I believe. I don’t know what this means, but I doubt he realizes he’s doing it.

A fascinating observation.  Of course, PTA has never had a wedding in his own personal life...  And his Dad was married twice.  Not sure what any of that means, but...

Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by Ghostboy on Yesterday at 07:24:52 PM »
Only seen it once so far but man was this delightful. Intimidatingly good as always and (also as always) like nothing else out there. Can't wait for the Xmas to see it again.
Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by modage on Yesterday at 06:05:22 PM »
I'm late, I'm sorry. I was fortunate enough to see this twice so far and have just not had the time to write something organized so here goes with some random thoughts.

First, some non-spoiler stuff for any lurkers brave enough to enter this thread.

Firstly: For anyone concerned at all, PTA has not dropped the ball. Phantom Thread is another worthy entry in PTA's filmography. And the thing I've learned from watching the lists come in ranking his filmography is that it really doesn't matter if it's your first or 8th favorite film of his, because they're all great in their own way. What's your 6th favorite Kubrick film? Who cares. Because each one says something different and whatever your preference is says as much about you as it does about any objective quality of the film itself.

This feels like the beginning of a new era for PTA. In my own head I kinda break his career into 3 bits (Developing his style: Hard Eight > Boogie Nights > Magnolia, Throwing everything out the window: PDL, TWBB, the difficult Joaquin period: Master, IV) and now Phantom Thread which seems unlike anything else he's made to date. And yet... would make a fascinating double-feature with Punch-Drunk Love (his two oddball films about love), with The Master (50s setting, master/servant relationships) or TWBB (a study in contrasts for DDL). Like The Master it seems at times it could be a film actually made in the 50s, the score especially pushes it to places that feel very period, but PTA's voice as a filmmaker always shines through brighter and keep it from ever becoming a recreation (a la Soderbergh's Good German or Haynes' Far From Heaven).

If you were concerned by the trailer (as I was, a bit) that this might be more of a buttoned up Merchant Ivory film for PTA, you can alleviate those concerns. The movie is pure PTA through and through. In retrospect, having seen the film, the trailer feels like a compromise between showing that it’s a PTA film but also a film that a regular people might go see. To me, the trailer sells a more straightforward movie, not a bait and switch exactly, but only hints at the places it goes.

I spent much of my first viewing (as I tend to do with his films) just noticing all the little ways the film is different from anything PTA has made before (the camera shake on the hood of the car, ooh!), and the second viewing just taking in the details and picking up on all the ways it actually fits into his filmography.

Phantom Thread is a much more immediate film than Vice or The Master. And I chalk that up to two major factors: DDL is a more charismatic actor than Joaquin (who is incredible but can also repel audiences) and Dylan Tichenor back as editor. For all its eccentricities and turns, by the time the lights come up on Phantom Thread, I think most people will leave the theatre without asking themselves what the hell it was about (which was not the case for Vice or The Master, where multiple viewings could reveal new truths but the films would never be 'solved.'). PTA's most experimental/difficult films for normal audiences are (to my mind) PDL, Master and Vice, all of which were edited by Leslie Jones. Dylan Tichenor is back in the saddle for this and for me it shows. (Not saying any of these films are better or worse, just that some are more wandering and elliptical, and some more direct.)

I'm terrible at estimating what general audiences will go for (when I first saw TWBB I thought it was PTA's most difficult film and would not make any money) but it feels to me like between DDL's performance and a few outrageous moments, this could have a chance at breaking through with the masses more than his last few films. But again, who the fuck knows. So far so good on critical notices and year-end stuff.


These have been reiterated elsewhere but the keys to unlocking this film were 1.) PTA's reveal at the Q&A about how the genesis of Phantom Thread occured when PTA being sick as a dog and saw Maya look at him with a kind of love he hadn't seen from her in a long time. And 2.) PTA and DDL admitting that Woodcock could have been in any creative profession and it was almost arbitrary that it became fashion (though obviously after it was decided, they all dove in head-first). This is absolutely a film about these three characters, not about dressmaking or Charles James or whatever else.

This is PTA's most intimate film to date. After the huge epic scope of TWBB which is an epic about capitalism, greed, oil, religion, it’s surprising (for me anyway) to see them reteam for this much much smaller film, an interior epic about relationships and the fucked up things we do to the ones we love most.

I thought it was interesting how in both this and TWBB, how much they reveal about the lead character through showing the process in which he does his job. TWBB spends a ton of time showing you the process of getting oil up out of the ground, buying land, the lengths that Plainview will go to succeed at both, and likewise Phantom Thread spends an equal percentage of screen time immersing you in the world of dressmaking to show how Woodcock’s character ticks through the obsession of his pursuits.

The New Years Eve scene is the major set piece of the film. For me, it's the oil derrick on fire sequence of Phantom Thread. Beautiful, gorgeous, huge. Compared to how much time we spend in that townhouse, it’s just incredible to see it opened up like that for just a brief few minutes, but wow. (I wonder how much of the film’s budget just went towards wrangling all the extras, costumes, elephants just for that scene?)

The mother scene is interesting. As has been mentioned it’s definitely part of Woodcock’s interest in Alma, that it makes him feel closer to mother, or the feeling that she gave him as she cared for him, and in his weakened, near-death state, almost gets back there. I believe that seeing his mother there is part of what binds him to Alma. It’s also interesting because I believe it’s the second fantasy sequence in PTAs career, after the nude dance scene in The Master. In both cases we see a character lying down envisioning something that is not happening.

There are weddings in so many PTA films! Boogie. Blood. Master. Phantom. And offscreen marriage in Hard Eight too, I believe. I don’t know what this means, but I doubt he realizes he’s doing it.

Like Katherine Waterson in Vice, Krieps is a real discovery here. She's incredible going toe-to-toe with DDL and I'm excited to see where her career goes in the next couple years after she gets snatched up by tons of other directors.

It’s still CRAZY to me PTA didn't use a DP. Phantom Thread looks great but feels a bit looser and less precious in its framing than his previous work. Though it moves a ton compared to the locked off style of Master and Vice, which probably allowed for a lot more improvisation. I would be curious to know if there was as much fucking around off-script as there seemed to be during those films. I would guess not. Or in any case, if there was, it feels like there wasn’t as this feels tighter, but again that could all come down to the editing.

I have tons more thoughts and can’t wait to see it again to keep discussing and thinking about it. It’s definitely my favorite of 2017 though much too early to say where it ranks in my personal PTA list, as I’m having a hard time imagining anything in the Top 3 or 4 ever being unseated.
The Small Screen / Re: Game of Thrones (spoilers)
« Last post by polkablues on Yesterday at 05:31:51 PM »
You're... welcome?
Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by jenkins on Yesterday at 04:59:22 PM »
looking forward to your list of art house favorites from 2017.
Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by wilberfan on Yesterday at 04:49:04 PM »
Why don't the masses appreciate this stuff?

There's the crux of the issue, right there.   Subtle, thought-provoking, nuanced...those are qualities that will never appeal to the masses. 

As H.L. Menkin once wrote,

No one in this world, so far as I know—and I have researched the records for years, and employed agents to help me—has ever lost money by underestimating the intelligence of the great masses of the plain people. Nor has anyone ever lost public office thereby.
The Small Screen / Re: Game of Thrones (spoilers)
« Last post by BreannaWatson on Yesterday at 04:23:28 PM »
My husband watches it! But I think it's boring! Anyway, thanks for sharing your thought, guys!
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