Recent Posts

Pages: 1 2 3 4 5 [6] 7 8 9 10
Paul Thomas Anderson / Re: Phantom Thread
« Last post by wilberfan on December 08, 2017, 03:12:59 PM »
Mark Bridges on designing the costumes for Phantom Thread.

Some of them will be on display at the ArcLight and at the upcoming Fashion Institute of Design and Merchandising's "Annual Art of Motion Picture Costume Design" exhibition.
The Grapevine / Re: I Love You, Daddy
« Last post by wilder on December 08, 2017, 02:55:16 PM »
Louis C.K. Buying Back ‘I Love You, Daddy’ Following Scandal
via Deadline

EXCLUSIVE: The Orchard has confirmed that they are wrapping up a deal to sell the global rights for I Love You, Daddy back to its filmmaker and star, Louis C.K.

The Orchard acquired worldwide on the black and white comedy out of the Toronto Film Festival for $5M. C.K. will reportedly pay back any money received from that MG as well as any marketing costs (~$500K-$1M) incurred by The Orchard. As a result, The Orchard will not incur any financial setback from the return deal. Such money spent includes a brief awards mailing numbering 12K DVD screeners to AMPAS, SAG, Golden Globes and Critics’ voting members. C.K.’s attorneys at Sloane, Offer, Weber & Dern have been working on the deal with The Orchard. C.K.’s 3 Arts manager Dave Becky, who is named as a producer on I Love You, Daddy, hasn’t been involved in the return deal as he dropped his client following the scandal.

No word as to when C.K. plans to release the film, and if so, if it will be on his website. The comedian previously streamed his 10-episode independent dramedy series Horace and Pete on his website last year, finding an immediate audience among his fans. Since being accused of sexual misconduct throughout his career last month, and losing his production deal at FX, as well as Orchard completely terminating the release of I Love You, Daddy among other things, C.K. said in a Nov. 10 statement that he “spent my long and lucky career talking and saying anything I want.  I will now step back and take a long time to listen.”

When the news hit last month about five women accusing C.K. of sexual misconduct in the New York Times, The Orchard immediately put the brakes on a New York premiere of I Love You, Daddy and pulled the pic from its Nov. 17 release. In addition, having oversee of the pic’s foreign sales, Orchard put a stop on those deals promptly and made sure its partners weren’t financially impacted. However, an awards mailing was already underway with voters receiving I Love You, Daddy screeners in the mail following C.K.’s scandal. A mini-black market for the film’s screeners spurred on Ebay, and the Orchard has been working with the on-line retailer to squash those sales. It’s easy to indicate which voter from which group is attempting to sell copies based on the DVD’s cover.

Given C.K.’s scandal, there are elements in I Love You, Daddy that grossly hit too close to home: In the movie, a character pretends to masturbate at length in front of other people (which is what C.K. was accused of by other female comediennes), and other characters appear to dismiss rumors of sexual predation. I Love You, Daddy follows a TV writer (C.K.) whose teenage daughter (Chloe Grace Moretz) becomes the obsession of a much older filmmaker (John Malkovich).
The Grapevine / Re: Loveless
« Last post by wilder on December 08, 2017, 02:16:22 PM »
In theaters February 16, 2018

Fascinating fill in the gaps of history. Only wish it went deeper

I agree. The kid sounds like he's got a really good head on his shoulders.  Sounds like he's much better off away from the Hollywood big time.
Ah! Now I have even more questions. That just really highlights how little we know about the production of PTA's films, especially PDL onwards. It'll be interesting to feel them slowly be illuminated over time, when the books start getting written.
Paul Thomas Anderson / Re: Phantom Thread - Critic's Reviews
« Last post by wilberfan on December 08, 2017, 01:47:59 PM »
You have the rest of your life to look into the critical assessment of a film, you only have one opportunity to approach it apart from all that static. It's a special time right now.

Well said, sir.

Review: Paul Thomas Anderson's 'Phantom Thread' Barely Holds Together

I'm sharing this because of the following lead-in paragraphs (which I found interesting):

Phantom Thread has the potential to be this year's Silence. By that I mean it's a well-made, unquestionably polished and impeccably acted drama from a beloved auteur that may well be ignored by general audiences. That's not necessarily an insult to general audiences, but this Paul Thomas Anderson picture, starring Daniel Day-Lewis as a 1950's fashion designer and Vicky Krieps as the young woman who becomes his lover and his muse, is the kind of thing that is almost made entirely for film critics and/or film nerds. And that's okay, as long as Focus Features, Annapurna and friends either A) knows what they are getting into or B) has reason to hope for bigger overseas box office for this arguably European melodrama.

The would-be Oscar contender opens in limited release on Christmas Day before presumably expanding in January. Anderson's last two films, Inherent Vice and The Master, were not remotely commercial hits despite more marketable content and better overall reviews. This is arguably a "for the love of the game" release for any studio, so let's not decry the death of cinema when this one doesn't play like the hot date night movie of choice for those who would rather see Molly's Game, The Post or All the Money in the World.


Another interesting lead paragraph.

If there’s one reason above all others that I’ve harbored an affinity for Paul Thomas Anderson’s filmmaking, it’s his penchant to find worth in the worthless. Inherent Vice found direction in Doc Sportello’s wild goose chase; The Master found weight in the hollow promises of Lancaster Dodd; There Will Be Blood found humanity in self-professed antihuman Daniel Plainview; Boogie Nights found a home in the sex-, drug-, and self-inflicted-gunshot-wound-laden household of Jack Horner. All the more challenging is that Anderson has, for my money, never seemed to claim that any of his subjects necessarily deserve this designation, instead operating on the grounds that if you’re going to send a violent loner on an ad-hoc trip to Hawaii on an ill-conceived mission to win the heart of a practical stranger, you may as well find the beauty in that. Ugliness and all.

And it's interesting to see some very mixed reviews out there now as well... (I'm essentially only reading intro paragraphs at this point.)

More interesting opening graphs:


One of my favorite games this holiday season is recommending double features that might help spotlight some of the best year-end films. For example, if you can watch Creature From the Black Lagoon right before The Shape of Water, it may well add to your viewing pleasure, and All the President’s Men would make a terrific chaser after watching The Post. But if you want to put two films from 2017 together to show how two totally different filmmakers might attack the same basic idea, then Darren Aronofsky’s mother! might make the perfect lead-in to Paul Thomas Anderson’s lush, disturbing Phantom Thread.

Movies about how art gets made are the most navel-gazing of all navel-gazing movies, inside baseball multiplied by inside baseball. Most people do not have to worry about the power dynamics in a relationship between a creator and a muse, and probably don’t care about that as an idea. But what makes the films of Paul Thomas Anderson work is the way he finds an emotional language for each film that is appropriate. That’s been true since his 1996 debut, Hard Eight, although it was really once he was able to exert the control of Boogie Nights that we got a sense of just how good he is at what he does.

When Anderson was in that early bratty stage of his career, he got dinged by some critics because of the way he was obviously quoting films and filmmakers that excited him, but I’ve always thought those criticisms miss the point. Yes, at first Anderson was aping the moves of other filmmakers, but he was doing it in pursuit of something genuine, something exuberant and delirious, a rush of film language shared by a storyteller who is almost ridiculously excited to introduce you to these characters. The longer he’s worked as a storyteller, the further he’s pushed himself away from that self-conscious voice and towards something that is his — language that is driven entirely by the story he’s telling. Anderson’s last three films have been major steps into a personal style, and with Phantom Thread, he’s made something wholly original.

Like There Will Be Blood, this film makes some abrupt shifts where you suddenly realize that anything is on the table, and these characters are capable of anything. Like Punch-Drunk Love, I think much of this film is funny, but in a dark, horrifying way, and I am not surprised I got some looks of real scorn when I laughed during my screening. Anderson has a misanthropic side, and while I believe he loves his characters, it is because they are flawed, and he finds those flaws and the scars they can leave in others to be one of the most interesting things about these people.

It would not shock me to see this nominated for technical credits across the board at the Oscars, but it also wouldn’t shock me if the Academy ignores it completely. This does not feel like a movie that was designed to curry favor or to give Oscar voters an easy thing to hang their annual “What do we stand for this year?” sign on, and that’s great news. This is an artist who has been chasing his own voice for the last 20 years, and seeing just how rich and controlled his latest film is only underlines how lucky we are to have him, especially if he really is the last filmmaker to ever direct Day-Lewis.

Phantom Thread is going to be with me long after the conversations about this year’s awards have faded, and for many viewers, this is going to be a film worth an obsession as focused as the one shared by its main characters.
Paul Thomas Anderson / Re: Phantom Thread - Awards ticker
« Last post by jenkins on December 08, 2017, 12:41:18 PM »
Slant: 50 Best Films of 2017

1. Phantom Thread – Paul Thomas Anderson

Dana Stevens: Top 15 Movies of 2017

BPM (Beats Per Minute) – Robin Campillo
Call Me by Your Name – Luca Guadagnino
Columbus – Kogonada
Dawson City: Frozen Time – Bill Morrison
Faces Places – Agnčs Varda and JR
The Florida Project – Sean Baker
Get Out – Jordan Peele
A Ghost Story – David Lowery
Phantom Thread – Paul Thomas Anderson
Wonder Woman – Patty Jenkins
Fascinating fill in the gaps of history. Only wish it went deeper
This Year In Film / Re: Three Billboards Outside Ebbing, Missouri
« Last post by jenkins on December 08, 2017, 09:53:59 AM »
still, mentioned in zero year-end lists. i want to send Manohla Dargis a thank you card for listing 40 movies and not listing this.
News and Theory / Re: 2013 Xixax Awards CAMPAIGN THREAD
« Last post by Sleepless on December 08, 2017, 09:03:06 AM »
Pages: 1 2 3 4 5 [6] 7 8 9 10
DMCA & Copyright | Terms & Conditions | Privacy Policy