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Paul Thomas Anderson / Re: Everything twitter
« Last post by WorldForgot on February 17, 2018, 05:38:49 AM »
This Year In Film / Re: Black Panther
« Last post by WorldForgot on February 17, 2018, 05:11:03 AM »
Ludwig Goransson's score is something else ~

Really dig this flick. It feels like a genuine burst of personality. The first since Guardians Vol 1, maybe. Michael B Jordan, as always, elevates every scene (and every other performance). Usually the sidekicks in Marvel movies don't do anything for the dynamics or story but Princess Shuri and Nakia + Okoye feel fully realized, T'Challa'z missing pieces. So, yes, the performances, but also the script. It's tight. An origin story that considers 'origin' as thematic scope.

Ruth Carter's costume designs go from Bond to tribal futurism and back.
If T'Challa is new Cap can Shuri be new Stark? plz n tx
The Director's Chair / Re: Peter Greenaway
« Last post by jenkins on February 17, 2018, 01:32:50 AM »
The Director's Chair / Re: Peter Greenaway
« Last post by wilder on February 17, 2018, 01:14:09 AM »
Peter Greenaway is 'director of the week' on Filmstruck right now. These are up there to stream, along with a new 15 min interview:

-The Cook, the Thief, His Wife & Her Lover (1989)
-The Draughtman's Contract (1982)
-The Falls (1980)
-The Pillow Book (1996)
-Prospero's Books (1991)
-A Zed & Two Noughts (1985)
This Year In Film / Re: Black Panther
« Last post by Kal on February 17, 2018, 12:19:55 AM »
well, this was no paddington 2, but then again, thats an impossibly high bar to clear.

hugely disappointing.  would go so far as to say it’s bad.  almost dc bad.

I know this isn't a superhero loving board, but I don't understand how this movie is bad... as far as comic book adaptations and superhero movies go, it's pretty great I think and I am very impressed with Coogler's work once again, the visuals, the music, and loved the cast.
Paul Thomas Anderson / Re: Phantom Thread - Interviews
« Last post by Fuzzy Dunlop on February 16, 2018, 11:36:03 PM »
I think he gave more interviews for magnolia than any of his others, but that was back when he was in manic-cocaine-wunderkind mode.

Loving the amount of interviews he's been doing for this press tour, he knows what he's gotta do to sell the film and seems cool with it. And its been really nice to see him in such a good place.
Paul Thomas Anderson / Re: Phantom Thread - Interviews
« Last post by ©brad on February 16, 2018, 09:21:33 PM »
TWBB is the first and only time I ever thought he seemed truly joyless doing press, but I felt it profoundly so.

See I had the complete opposite reaction. I remember him being ecstatic showing that film, and beaming with pride during interviews. His appearance with Elvis Mitchell on the Treatment comes to mind.

Ultimately we are all making assumptions based on the narrow window of media time we are exposed to with each film. We have no idea truly what's going through his head doing press or in regular life, nor do we really need to. I have heard him say on many occasions he's at his happiest when he's making and showing movies.

Paul Thomas Anderson / Re: Phantom Thread - Interviews
« Last post by swopula on February 16, 2018, 08:35:35 PM »
TWBB is the first and only time I ever thought he seemed truly joyless doing press, but I felt it profoundly so. I don't know what was in the water at that time in his life, especially because he seems to reflect on it so fondly now, but I just remember feeling that he was presenting himself as completely closed off, and even feeling like the experience of that production had sapped the light in his eyes slightly. I'm reticent to place too much emphasis on the whole "kids" aspect, which is sensible but also feels vaguely like a catchall. I don't know what it was.

One thing I think is worth pointing out is that his press habits differed wildly between TWBB -> TM -> IV -> PT -- and those were all distributed by different companies. So my money is on the distributors doing most of the bookings and him following those however he's most comfortable. I know there's a tendency to fall into the trap of, "but PTA calls all the shots! He doesn't do ANYTHING he doesn't want to do!" but I would venture to guess that attitude is mostly funneled into posters, trailers, TV spots, rollout patterns, etc.

I remember him speaking positively of his marketing collaboration with the Warner Brothers team for Vice, and I think it's feasible he's relented a bit on micromanaging this sort of thing -- particularly because any distributor he would work with at this point is going to have a good sense of what his vibe is already going into it, and who his films are for.

FWIW, box office receipts on Phantom Thread obviously haven't been stellar (although I would argue better than some here are making it seem -- we forget the film's barely reached international at this point), but it seems to have really invigorated the likes of us. So maybe Focus made a calculation that there's no use in trying to create converts at this point and to just play to the work's strengths -- from a financial perspective a failure (to this point), but from a These-Promotional-Materials-Are-Sick-And-Make-Me-Stoked-For-A-New-PTA perspective, I think it's probably the best of any of his films since Blood.
Paul Thomas Anderson / Re: Phantom Thread - Interviews
« Last post by Lewton on February 16, 2018, 04:40:10 PM »
Speaking of past interviews...

I recently returned to The Master's press conference from Venice. PTA mentions that he had asked Joaquin Phoenix to join many of his previous movies and had been turned down. I remember learning about this around that time and I'm still curious about it. Was he offered a part in TWBB, I wonder? Joaquin and DDL in the same movie just seems like such an irresistible and exciting prospect. I really wish we had been given an opportunity to see that happen (not necessarily in TWBB, which is obviously perfect as is, but in a new PTA movie).

I also re-watched a video from the 2008 San Sebastian Film Festival and PTA talks about how he's not sure what he's going to do next, but that he's planning on working with Day-Lewis again in a few years. That didn't pan out quite as quickly as he indicated there, but that's not really surprising as things like that shift around all the time.
Other Media / Re: misc book thread
« Last post by wilder on February 16, 2018, 04:23:58 PM »
Kier-La Janisse (author of House of Psychotic Women) is working on a book about Robert Downey Sr.

Call for Proposals: "Truth and Soul: The Films of Robert Downey Sr."
via Spectacular Optical

Spectacular Optical Publications ( is a small-press publisher of cult film and pop culture books based in Canada. Following our earlier anthologies KID POWER! (2014), SATANIC PANIC: Pop-Cultural Paranoia in the 1980s (2015), LOST GIRLS: The Phantasmagorical Cinema of Jean Rollin (2017) and YULETIDE TERROR: Christmas Horror on Film and Television (2017), we are accepting proposals for essays and interviews for our sixth book (and fifth anthology project), tentatively titled “Truth and Soul: The Films of Robert Downey, Sr.” to be curated by Kier-La Janisse and Clint Enns.

Guidelines for Proposals:

We are accepting proposals for essays or interviews of 3000-5000 words relating to the work of Robert Downey, Sr. Essays can focus on a specific film, offer a comparative study of several films, or offer overarching analyses reflecting upon the social or political themes found in the films. We are looking for unique readings of Downey’s films that explore the historical context in which they were made, the legacy and influence of his work both in the mainstream and avant-garde, analysis of the race, class, and gender politics found therein (especially in relation to Downey’s subversive humour) and more. We are looking for writing that provides other Downey enthusiasts with new ways of thinking about his work.

The writing and tone of Spectacular Optical books aims to live in that space between academic and pop cultural (less formal than academic writing but not as colloquial as pop cultural writing), with all pieces rigorously researched to support a central thesis and offering new insight that will stand up to peer review. We are not looking for reviews or excessive plot synopses, but analysis that approaches the films from a unique or surprising angle.

First-hand research in the form of interviews with actors and other artists who have worked with Downey are also welcomed. Priority will be given to proposals that demonstrate existing access to the intended interviewees.

Each accepted piece shall comprise a chapter of the book, which aims to provide a vibrant and informative overview of Downey’s body of work.


All proposals are due by April 1, 2018.

More info on submitting proposals here
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