There Will Be Blood - now with child/partner forum we call H.W.

[tpfkabi]

this is the first time that my question has been answered with a direct quote from Paul saying that it does not exist.

Second time. Same PTA quote, Radiohead thread:

http://xixax.com/index.php?topic=9026.msg249538#msg249538

you got me there.
sorry i cannot remember every post i make on here, but be damn sure you will remind me of it.

why weren't you there while i was taking my recording studio classes that i failed? would have been great study partners i'm sure.

[Pozer]

I just unloaded about a hundred imaginary bullets into my head after reading Dentler's blog this morning.

I almost bought a badge this year, but convinced myself that it wouldn't be worth it... I mean why THE FUCK would they play something like this?  And PT was in town!!!????  My dream of finally meeting him TOTALLY shot down.

If anyone needs me, I'll be at the bottom of the river.

I've talked shit about most of the other secret screenings held at the Fantastic Fest this year, but I'm not on this one.

THERE WILL BE BLOOD is a breathtaking, mammoth masterpiece. It's the best film I've seen so far this year, and is one of the best movies ever made. It's absolutely brilliant.

Daniel Day Lewis isn't an actor, he's a goddamn force of nature. To watch him on screen in this movie is to watch one of the greatest performances of this generation.

Paul Dano is equally as wonderful, keeping his feet while being in the frame with Day Lewis. His Eli character is achingly naive, but fierce when need be.

Harry should attest, EFFING QUASI SPOILS that final showdown between Eli and Daniel is the stuff of fucking legend. /SPOILS
I can't say enough great things about this movie.

But I will say this. I'm a HUGE PTA fan. And to have him inches from me, talking to me about movies was as close to a dream come true as I can imagine. I never thought I'd meet him, much less in Austin. It was a highlight of my life and of the fest.

Thank you Harry and Tim. See ya next year.

[RegularKarate]

Hey Pozer, how about you find a quote from the dude who married that girl I never got with in High School too?

[Fernando]

Just a suggestion for all the ppl that will post articles/reviews, please leave some space between the SPOILER warning and the text, because even though I never intended to read any of them, I read the first lousy sentence by accident of one and already ruined something important (the first fucking sentece, Jesus!); I'm with P on this one, can't these guys write something without giving away every little fucking thing?

Thanks!

[Stefen]

Hey Pozer, how about you find a quote from the dude who married that girl I never got with in High School too?

He can do you one better.

Pozer, show RK a picture of the kid you had with her.

*fingers crossed for first xixax sex tape*

[MacGuffin]

Source: cig & red vines




alamo screening video
texas geek.tv has posted a 20 minute video of paul thomas anderson's intro and q&a for the recent 'there will be blood' screening at the alamo draft house.


http://texasgeektv.vox.com/library/post/tgtv005-paul-thomas-anderson.html

[The Red Vine]

Great to watch. Not a lot of new information, but just watching his mannerisms is fun. This is probably the most nervous and tongue tied I've ever seen him.

Now I'll be kicking myself for the next 3 months for not attending.

[picolas]

great watch aside from mother effing quasi-spoils!!!

skip 11:13-11:17 if you want no inkling of the ending

mothereffer said no spoilers..

[72teeth]

11:13-11:17

... i thought he was talking about drac

[picolas]

he says "especially at the end ____________________" and describes an image from the end.

[MacGuffin]

Contenders attempt to stifle the hype
In his Envelope debut, Pete Hammond surveys the field as Hollywood hopefuls take cover.
By Pete Hammond, The Envelope

Didn't we just do this thing?

Though our new weekly column here at The Envelope is beginning today, the "awards season" has never really stopped. It's year round now, a 24/7, 52-weeks-a-year byproduct of Hollywood greed and need. There can never be too many awards! The Oscars show on Feb. 25 was barely off the air when New Line, first out of the gate on Feb. 28, hosted a reception and 17-minute sneak preview screening of its '07 Golden Globe and Academy hopeful "Hairspray" at the Clarity in Beverly Hills, where producer Craig Zadan was also talking up his Jack Nicholson-Morgan Freeman Christmas release, "The Bucket List."

But now, as things begin to get serious, a little game is being played called "managing expectations." One consultant, knowing this column was starting, pleaded with us not to anoint their holiday hopeful (an early front-runner) as an early front-runner.

"If you mention the movie just don't say we're leading anything," the consultant begged.

Another savvy campaigner, having just seen a preview of a late December entry, waxed rhapsodic about the film's attributes and called the film absolute perfection, a "real contender," but then warned us not to say a word. Your secret is safe here!

Smart academy consultants -- battered by this year-round Internet and mainstream media interest in the hunt for awards -- are starting to act like CIA operatives, doing everything they can to prevent their prime contenders from peaking and burning out before they even open.

"Front-runner? Us? You must be on crack!"

Sad examples in recent years of highly touted movies failing to live up to endless hype have taught the pros who live and breathe awards a valuable lesson. Shut up and let the movie play, stupid!

If pure advance buzz determined big winners then the filmmakers behind "The Majestic," "Angela's Ashes," "The Crucible" and last year's "The Good German," to name a few, would have been pushing their Globes aside to make room for their Oscars.

Final results in the last few years have proved that when it comes to winning best picture, mum's the word for the early part of any campaign.

"Million Dollar Baby," Clint Eastwood's winner in 2005, was known as the stealth entry, not even announced for the Warner Bros. release schedule until Sept. 30, 2004; "Crash," 2006's winner, opened in May 2005 and was content to just get itself seen and let everything else fall by the wayside -- including the seemingly inevitable victor, "Brokeback Mountain," which began its front-runner status at early fall festivals and had nowhere to go but down by the time final academy ballots were due. Exactly one year ago this week, Warner Bros. publicity execs were proclaiming that their new Martin Scorsese film, "The Departed," was just a commercial movie, "not really an Oscar film."

Campaign consultants downplayed its chances, Scorsese stayed under the radar (unlike his ill-advised accessibility during the "Gangs of New York" and "The Aviator" seasons), and what happened? The two words that weren't even supposed to be whispered together, "Departed" and "Oscar," were uttered.

Academy members like to discover movies on their own. No one wants "The Shipping News" stuffed down their throat and told this is the movie you will vote for.

Unfortunately, with academy ballots now going out at the end of the year and other awards groups voting much earlier than that, there isn't a whole lot of time to get these movies seen, especially those November and December releases, so the studios and distributors are walking a thin line.

Festival exposure, a necessity for many films to set themselves apart from the pack, can be a double-edged sword.

The Toronto and Telluride reception for "Juno" was euphoric, but can media infatuation for Jason Reitman's crowd-pleasing but small comic gem over-inflate awards voters' expectations by the time it finally begins a limited run Dec. 14?

The brilliantly funny and whimsical "Lars and the Real Girl" also was big at the Toronto fest exposure. But executives at Sidney Kimmel Entertainment, which financed the film, are wisely taking it slow, preferring to let "Lars" begin its run Oct. 12.

They're hoping the positive word-of-mouth it generates among academy types and other awards-givers will justify the expense of a full-blown campaign.

In a sign that the strategy may just be working, an overflowing Monday night screening of "Lars" for the SAG nominating committee, followed by a Q&A with star Ryan Gosling and director Craig Gillespie at the Landmark Theatre, was rapturously received.

Last weekend's first screening of Disney's Thanksgiving release "Enchanted," resulted in early critical huzzahs for the animated/live-action fantasy flick and immediate awards buzz for Amy Adams, a past nominee for "Junebug," who had not been on anyone's radar for this picture.

Even Disney staffers seem (pleasantly) surprised that she is suddenly emerging on best actress lists. Or perhaps there are some pretty good poker players on Walt's Burbank lot playing the game of lowered expectations better than anyone else this season.

Hotly anticipated Oscar prospects without previous festival exposure, like "The Kite Runner" and "Lions for Lambs," seem to be carefully picking and choosing how, when and to whom they will be screened with their release dates looming just a month away.

Universal's powerful "American Gangster," on the other hand, is opening Nov. 2 and seems to have a different tact by screening every single week, putting it out there for all to see whenever they want.

Two films being jointly released by Miramax and Paramount Vantage are also employing intriguing strategies. Joel and Ethan Coen's "No Country for Old Men" debuted in May at Cannes to overall great reviews (if no prizes). But despite that success, the film has so far had intentionally few screenings (outside of the Toronto Fest) for Los Angeles and New York press.

Award strategists hope that keeping a distance between its Cannes debut and "No Country's" limited Nov. 9 openings six months later will help avoid overkill and maintain momentum as an academy contender.

The same two companies teamed on "There Will Be Blood" which doesn't begin its limited runs until Dec. 26 but inadvertently made a splash as the unannounced closer at Harry Knowles' Fantastic Fest in Austin last week.

Vantage didn't have this Texas stop in its master plan, but director Paul Thomas Anderson chose to do it because of his relationship with Knowles (who raved about the film).

In fact, Vantage had barely shown it anywhere (except a small tastemaker/ long lead screening at the Paramount Theatre a couple of weeks ago).

The Texas response, where a lot of the impressive film was shot, was incredible -- perhaps excessively enthusiastic, as often happens at these things because of the festival-goers and Internet bloggers who knew they were the "chosen ones."

One person connected to "Blood" told us they were thrown for a loop but that the early praise is helping them shape the campaign.

Comparisons to "Citizen Kane," possibly the most influential film ever made, were thrown about with abandon.

Texas stringers from both Variety and the Hollywood Reporter raved online (causing consternation among real critics at both trades who have yet to see it) and now Vantage has to uh ... manage expectations before beginning press screenings (probably in November, according to a studio source) for the movie.

Orson Welles, if not William Randolph Hearst himself, may have to fear the onslaught of praise.

And like we said, it's only just beginning.

Ain't it cool? It's ready, set, go for the gold as The Season begins in earnest.

Just keep it under your hat for the time being.

[tpfkabi]

http://www.pitchforkmedia.com/article/news/46284-greenwoods-ibloodi-score-to-be-released-on-cd

Greenwood's Blood Score to Be Released on CD

It is, after all, international "Don't Talk or Think About Anything But Radiohead Day" (week? month?). Call it kismet, then, that there would be a bit of non-In Rainbows Radiohead news today: Jonny Greenwood's score for There Will Be Blood, the latest film from Paul Thomas Anderson, will be released on CD December 18 via Nonesuch.

Two of the album's ten tracks-- "Henry Plainview" and "Proven Lands"-- are in fact excerpts from Greenwood's orchestral, BBC-comissioned "Popcorn Superhet Receiver" piece. The rest, however, is fresh Jonny-- yep, the same dude you've spent roughly 1/5 of the last 13 hours or so fawning over.

There Will Be Blood opens in limited release in the U.S. December 26, with the rest of the world to follow shortly thereafter. As for Jonny, well, he'll be busy fashioning those discboxes out of his own blood, sweat, and floppy hair from now 'til the new year. It's then that-- as you're aware-- Greenwood will prep the U.S. debut of his "Superhet" work for the Wordless Music Series.

Thanks to reader M.S. Markham for the tip.

There Will Be Blood:

01 Open Spaces
02 Future Markets
03 Prospectors Arrive
04 Eat Him By His Own Light
05 Henry Plainview (excerpt from "Popcorn Superhet Receiver")
06 There Will Be Blood
07 Oil
08 Proven Lands (excerpt from "Popcorn Superhet Receiver")
09 HW / Hope of New Fields
10 Smear

[Marty McSuperfly]

From: Hollywood Elsewhere

A tough-minded exhibition guy from another continent says that "'awesome'' is the only word I can think of to describe Paul Thomas Anderson's There Will Be Blood," which he saw yesterday.

"As someone who fell giddily for Boogie Nights only to be frustrated by the excesses of Magnolia and disappointed in many of the indulgences of Punch Drunk Love, this new film does more than restore PTA's stature as one of the most exciting American filmmakers -- it puts him in the leagues of the masters.

"Blood is two hours and 45 minutes of cinematic heroin. It's a frightening, overwhelming, punch-to-the-gut work -- as strong as anything that John Huston or Stanley Kubrick ever made.

"Too much will be written and said about the accomplishments of Daniel Day Lewis's performance to start drooling here. Let's just say that the Best Actor Oscar is his to lose, not that I imagine he'd care. Paul Dano, in a difficult role, matches him scene for scene -- the breakout performance of the year. And Johnny Greenwood's score is still giving me chills.

"The film is probably too grim and narratively uncompromising to break out commercially beyond the realms of where Jesse James aspires (and may not reach). But it deserves to, and will, do better than that film and certainly is more than just an actor's showcase like Last King of Scotland was. $20 t0 $30 million is possible, assuming the big awards come through? For my money Day-Lewis pushes the potential of the film beyond the art milieu.


VAGUE SPOILER COMING UP. YET ANOTHER HUGE FUCKING ENDING SPOILER, SWIPE IF YOU'RE AN IDIOT.......





"I can forgive the film for a shocking, visceral final scene that teeters on the verge of hysteria and unfortunately dives right off the edge. And also for that same scene's logic-defying continuity problems.





SPOILER OVER......

"Despite those minor flaws, this is a cinematic and artistic experience that few other American films have delivered in recent memory."

[Pubrick]

fucking reviewers STOP WRITING ABOUT THE ENDING AT LEAST UNTIL IT'S OUT. SERIOUSLY WHO IS THAT INFORMATION FOR???? NO ONE HAS SEEN IT! IDIOTS!., god. that shit is fast becoming my number one most hated thing. period.

[Fernando]

fucking reviewers STOP WRITING ABOUT THE ENDING AT LEAST UNTIL IT'S OUT. SERIOUSLY WHO IS THAT INFORMATION FOR???? NO ONE HAS SEEN IT! IDIOTS!., god. that shit is fast becoming my number one most hated thing. period.

I did post something in the last page that maybe was unnoticed, it's clear this assholes (reviewers) won't do what you and many ask, so the solution to this stupidity is NOT TO POST THIS DAMN ARTICLES or as I said in the last page:

Just a suggestion No longer a suggestion but a demand for all the ppl that will post articles/reviews, please leave some space between the SPOILER warning and the text AND CHANGE THE FUCKING FONT COLOR....

Thanks!