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

[Pubrick]

of course I was eagerly awaiting P's response.

you're the kinda guy who'd kick a fella in the nuts just for saying hi.

[The Red Vine]

of course I was eagerly awaiting P's response.

you're the kinda guy who'd kick a fella in the nuts just for saying hi.

Depends on the guy's name.

[Pubrick]

the guy's name is always The Red Vine.

[squints]

enough of this bullshit. Next time i click this thread there better be some news instead of bickering or someone's getting kicked in the nuts

[Pozer]

dedicated to squints...

check out cigs 'n reds: http://www.cigarettesandredvines.com/main.php?id=N01

[Stefen]

So the running time is 2 hours and 49 minutes. Just like I predicted. In a thread. On another message board.

We might all be a little too old for PTA's fat. Boogie Nights and especially Magnolia have ALOT of fat, but we were young and didn't know any better. We'll see right through this fat.

[mogwai]

So the running time is 2 hours and 49 minutes. Just like I predicted. In a thread. On another message board.

We might all be a little too old for PTA's fat. Boogie Nights and especially Magnolia have ALOT of fat, but we were young and didn't know any better. We'll see right through this fat.

you don't know what you're talking about. because you're clearly not speaking for me.

yeah yeah.. classic mogs etc. etc. etc.

[MacGuffin]

Source: Hollywood Elsewhere

A ten-minute tribute reel in honor of Daniel Day Lewis's film career -- a reel that will include unseen footage from Paul Thomas Anderson's There Will Be Blood (Paramount Vantage, 12.25) -- will, I'm hearing from a good source, be shown at the Telluride Film Festival the weekend after next. This info contradicts another source who's heard that a 40-minute Blood reel will play there, and still another claiming that Blood will screen in its entirety.

"They were talking about [showing a portion of the film] for a Daniel Day Lewis tribute, I know that, but the festival was begging for the whole film to be shown but it's just not ready yet," a source remarked. A Paramount Vantage spokesperson said nothing was on the table or suitable for comment.

If -- I say "if" -- a longish Blood reel is shown, it will be like those product-reel showings of Gangs of New York, Lord of the Rings and World Trade Center at Cannes, and therefore the first time that Telluride -- the most pure-minded, far- from-the-madding-crowd film festival around -- will have screened a portion of a film solely to spread word-of-mouth to benefit a distributor.

But if just a DDL tribute reel is shown, it'll be nothing big because Telluride, a regular tells me, "has tributed other visiting actors with reels before."

[modage]

maybe i'm slow here but the thing that i didn't notice from the ew article until i just picked up the magazine was that it says it will be released

DECEMBER 26!

[Marty McSuperfly]

Twenty minutes of There Will Be Blood have have screened at Telluride!!! From Hollywood Elsewhere: "The 20 minutes -- yes, only 20 -- of Paul Thomas Anderson's There Will Be Blood [that was shown Friday night at Telluride] looked great," a friend writes. "Unfortunately, I liked those 20 minutes better than any complete film I've seen here."

[Marty McSuperfly]

Variety's Mike Jones: "The 20 minutes ... established the mysterious film finally as a frontier epic. ... In a series of well-cut scenes, the Telluride audiences watched rabid oil prospector Daniel Plainview (Day-Lewis), manipulative and shrewd, work to buy the oil-rich land off of ignorant homesteaders. ... Day-Lewis' performance both repulses and attracts. He's a wonderfully successful snake charmer. His words are like Norman Rockwell painting –- promising the American Dream to the scared locals he buys out."


From EW.com: 
As for There Will Be Blood, the first rumors had the film premiering in its entirety as part of a festival tribute to Daniel Day-Lewis; the second set of rumors were less optimistic, with P.T. Anderson supposedly bringing a 40-minute piece of the movie. The reality turned out to be even less: just 20 minutes. But as singular reels go, this one was a doozy — I kept checking my watch, hoping the excerpt wasn't about to wrap up.
Anderson claimed that this was the only reel of the film that was finished enough to show, but it sets up the plot's multiple conflicts so neatly, I had to wonder if he didn't pick this segment because it just makes for a great, self-contained trailer for the film.

As Day-Lewis told the crowd, it's "really, really, really, really loosely based" on the Sinclair novel (I forget how many times he said "loosely," but I believe it was about five). It's also hardly recognizable as an Anderson film, from the looks of things, not being an ensemble piece, for starters.

Yet to to the extent that his pictures tend to focus on weird extended families in general and father/child relationships in particular, it's easy to see Blood as part of an Anderson throughline.

In the excerpt, Day-Lewis, playing a self-styled "oil man," is first seen telling his young son that he plans to buy some crude-rich land under false pretenses, making his kid complicit in his duplicity. Soon, he's buying a plot from a naïve farmer whose intensely religious and suspicious son looks like the film's principle antagonist.

But there are other potential enemies set up, since Day-Lewis tells the workers he brings in to work the desert land that the area will be irrigated and literally bear fruit, and they'll set up a thriving town there. Unless you've seen more verdant oil fields than I have, you know that particular plot thread probably won't end happily either. But we'll all have to wait till December to see the promised red stuff of the title.

From Flixer.com (WITH SPOILERS OF THE REEL): I'll have more on the Daniel Day-Lewis tribute in my diary entry later tonight, but first thing's first: almost two hours into the tribute, Day-Lewis said, "Oh yeah — let's invite Paul up here now," and Paul Thomas Anderson took the stage to introduce 17 minutes of There Will Be Blood.

Anderson called it "the third reel," but my first impression was that it played more like a product reel, with what felt like an entire second act condensed into less than 20 minutes. But thinking back on PTA's body of work, this kind of temporal pacing wouldn't be unprecedented–the guy loves his montages, and what we saw was so impeccably, purposefully edited to a gorgeous score (violin heavy, by turns subtle and scary–it's so dynamic that it might be an existing piece of music, but if so I've never heard it before) that it could conceivably play within the film. And, could very well be amazing.
My full notes on the footage follows after the jump.


The footage opened on Day-Lewis' character, an independent oil prospector named Daniel Plainview, in the middle of a trip to a ranch with his young son. They've told the Sunday family, the owners of the ranch, that they're quail hunting, but really, Plainview is looking for oil. They climb up a steep rise, overlooking a vast expanse. Plainview tells his son his plan to buy the land and build a pipeline, so he can move the oil without shipping costs. The kid asks his dad how much he plans to pay. Plainview says, "We'll give them quail prices."

Cut to dinner at the Sunday Family shack. The shack is dark and dingy, and you can see a housefly buzzing around the dinner table. Plainview offers $3700 for the land. Old man Sunday stutters that God has sent Plainview here, but his son Eli (played by Paul Dano), is suspicous. "There's oil here," Eli says. "I know there is." Eli says he wants $10,000. "For what," Plainview asks. "For my church," Eli responds. Shot-reverse shot, extreme close-ups. They have a deal.

Plainvie goes to a real estate broker, asks him to see a map of the land around the Sunday Ranch. He pulls out a notebook and takes notes of who owns what: he wants to buy it all.

This is where the score comes in for the first time: propulsive, screechy violins. It's the aural embodiment of gears working: Plainview's mental gears, the gears of labor and capitalism as he puts his plan in motion.

A train pulls into town, and Plainview meets an older gentleman who appears to be a rival at the station. Plainview tells him he's laid claims to this territory and encourages the older gentleman to "go east." The old guy looks like he's battled with Plainview before and no longer has the energy. He applauds Plainview for using his little boy to grease the wheels of his entry into the community. He puts his hand on the boy's soldier and tells him that if he ever wants to sue his daddy, he'll draw up the papers. "You should be getting half of what you're dad's making." The older gentleman gets back on the train and rides out of town.

The little boy wanders around at dusk with Mary Sunday, a blonde girl about his age. She asks him how much money they're all going to make. The boy says, "It's hard to say."

Cut to Plainview and the boy, sitting around a campfire. The son tells his father that Mary's father beats her when she doesn't pray. Plainview absorbs this information.
Cut to Plainview's office. The real estate broker says one landowner doesn't want to sell without speaking to Plainview directly first. Plainview says, "He'll come around." He leaves his office and goes into a large room, where a large group of landowners have gathered. He begins giving them a speech about all of the improvements his operation is going to pay for: schools, agriculture, roads. Most of this plays over gorgeous, dark shots of miners getting off a train , flooding the area, building a camp.  Cut back to Plainview: are there any questions? Only one, from Eli: "Will the new road lead to the church?" Plainview says, "That'll be the first place it leads."

Dissolve. The camera scans the camp; there are now chickens, horses, women. Plainview is in his office, and he hears singing. He looks out the window and we see a wide shot, from above, of Eli leading a group of bible-toting singers through the camp.

Eli comes up to Plainview's office. He asks Plainview if "there's anything the church can do for you?" He says he knows they're christening the oil derrick the next day, and asks Plainvie if he'll introduce him as "the son of these hills" and allow him to give a blessing. Plainview agrees.

Cut to the ceremony. Plainview, flanked by his son and Mary Sunday, gives his own God-infused speech to an assembled crowd. He refers to Mary as "the daughter of these hills." He does not invite Eli to give his blessing. Plainview's son releases the drill; it comes up slick with oil.

The crowd disperses; a celebration begins. Kids run around a large picnic table. Plainview stops Mary and asks if she likes the dress he bought her. She says yes. He asks her if her father still hits her. She shakes her head. "No hitting," Plainview says. He tells her to go play and not to come back. She does. Plainview sits back, and we see Mary's father has been seated across from him at the table, watching all along. Plainview pulls from a flask.

The end.

[picolas]

can't. contain.. self...

[MacGuffin]

Telluride: The Daniel Day-Lewis Tribute
Source: Cinematical

Every year at Telluride, they do three Tributes. In recent years, at least, they've tended to have one film person who's well-known in his or her own country, but not widely known and appreciated, one film person who is well-known pretty much everywhere, and one person who's made a significant contribution to film, even though you may not recognize their name. This year's tributes are Indian filmmaker Shyam Benegal (first category), French composer Michel Legrand, and actor Daniel Day-Lewis, whose tribute was held tonight at the Sheridan Opera House.

Thankfully, I had a Patron Pass to get into it, because the venue only holds 250, and between the patrons and priority line (for the Sheridan, every pass has two numbers shaded in that correspond to the film's program numbers -- a shaded number means you get priority seating there for that particular show) the house was packed. I doubt very much that any passholders who weren't lucky enough to have the number "1" shaded on their passes made it into this event.

Daniel Day-Lewis doesn't do a lot of interviews, so the chance to see him in person and hear him speak was too good to resist. I lucked out and got a perfect seat on the floor, thanks to a fellow journalist who had an extra seat next to him that he very kindly offered to me. The evening kicked off (after an intro by fest co-director Gary Meyer -- who, like all the staff at this fest, is so nice and engaging, you just want to sit down and hang out with him over coffee) with a one-hour compilation of clips from Day-Lewis' impressive filmography, from his uncredited role as a child vandal in Sunday Bloody Sunday (1971) to The Ballad of Jack and Rose (2005), which his wife, Rebecca Miller, wrote and directed. The clips were nicely edited, showing Day-Lewis' range as an actor and the wide variety of roles he's chosen throughout his career.

Following the clips, Day-Lewis was presented his silver medallion by director Paul Thomas Anderson, who helms Day-Lewis' current film, There Will Be Blood, and then Day-Lewis sat down for a chat with Annette Insdorf, Columbia University film studies professor and author of numerous books. Day-Lewis came out dressed casually in flannel shirt (sleeves rolled up to reveal his wicked tattoos) and black hat, and proceeded to floor the audience with his wit and intelligence for the next 20 minutes or so. Insdorf, an expert in her field, quite obviously knows subject and came well prepared to interview Day-Lewis in front of the packed house. Her first couple questions were rather lengthy as she tried to delve deep into the choices Day-Lewis makes as an actor; she seemed a bit thrown when his response to the first was a chuckle and "You know, I don't know," but she kept her cool and before long she had the actor waxing on about working with Martin Scorsese (Gangs of New York, The Age of Innocence), Stephen Frears (My Beautiful Laundrette) and Jim Sheridan (The Boxer, In the Name of the Father, My Left Foot).

Day-Lewis did open up a bit about his acting method, admitting that the doesn't like to rehearse (which he said he worries bothers his fellow actors who like to rehearse, more than it bothers the directors he works with), and that he enjoys improvisation. He got a chuckle from the crowd when he related how Stephen Frears, before shooting a scene in My Beautiful Laundrette where he and Gordon Warnecke had to kiss, told the actors, "I'm going to go get a Mars bar, when I get back, you tell me where we should set up," then left his actors to ponder that they'd have to be "snogging" on camera. Day-Lewis also talked a bit about his admiration for actor Charles Laughton, to whom he himself has been compared, saying that he thinks Laughton is the finest actor ever to come out of the British Isles.

Insdorf asked Day-Lewis how he chooses a script, something that I (and no doubt most of the people there tonight) was very interested in, given how relatively few films Day-Lewis has made (after winning the Best Actor Oscar for My Left Foot in 1989, he took three years off before making The Last of the Mohicans, then took five years off between The Boxer in 1997 and Gangs of New York in 2002). His answer, though, was pretty simple -- there's no real formula to how he decides what roles to accept: he reads the script and it either feels right, like he absolutely HAS to do it -- or it doesn't. He said that he often likes scripts that he turns down because it just doesn't feel "right" to him. With his latest film, for instance, he read Anderson's script, they met, and he took the role -- end of discussion.

Toward the end of the talk, Insdorf got Day-Lewis to talk a bit about the morality of some of his characters -- Gerry Conlon in In the Name of the Father and John Proctor in The Crucible, in particular, and he said that he doesn't know if he personally would have the courage to take the actions those characters take if he was in the same circumstances. But that, he said, is part of the value of playing those characters -- to step in the shoes of another person, immerse yourself in who they are, and convince the audience -- and yourself -- that you would. Insdorf asked Day-Lewis about his role in There Will Be Blood, and whether he'd prepared for the role by watching Giant; he said he'd watched it only once before filming, but a couple dozen times since then, because his five-year-old son is obsessed with the film's breakfast scene.

After the conversation wrapped, we got a real treat -- a sneak preview of 20 minutes of There Will Be Blood (based on the 1927 Upton Sinclair novel Oil!), from the third reel of the film. What we saw was this: the film is about Plainview (Day-Lewis), a turn-of-the-century Texas oil prospector who sets out to buy most of the land in and around a small town, and his relationship with his young son. Paul Dano (Little Miss Sunshine) plays Eli Sunday, a young preacher who goes toe-to-toe with Plainview. What we saw of the film looked gorgeous, and both Day-Lewis and Dano appears to give powerful performances. The film opens in limited release December 26 (presumably for Oscar consideration); I wouldn't be surprised if Day-Lewis ends up with an Oscar nod for it.

All-in-all, the Daniel Day-Lewis Tribute will end up being one of the highlights of the fest for me. It was so delightful to see and hear Day-Lewis talk about his films in his own words, and to see how he lights up when he gets going talking about film. He has that passion and intelligence in real life that translate so remarkably to the big screen, and I can't wait to see all of There Will Be Blood. After that, I suppose we'll have to wait a few years for his next film He didn't rule out another collaboration with his wife, and that would be great to see -- though another Scorsese or Frears collaboration would be cool, too, yes?

[modage]

cigsvines...

wednesday, september 5th
trailer updates
friend mike, the projectionist, has returned and sent us this email and i thought it would be of great interest to you all. he will do a better job relating the info than i will, so i have copy/pasted it:

It's Mike the projectionist again. We get these industry newsletters with all sorts of useless information on them, and the latest one says that trailers for THERE WILL BE BLOOD will be shipped with 3:10 TO YUMA and THE BRAVE ONE.

That being said, this info is often times inaccurate. And even if it is accurate, it's up to the individual theater to decide whether or not they want the trailer play with the movie. It could even end up on a different movie. Who knows? But if you're looking for a THERE WILL BE BLOOD trailer, your best bet is either 3:10 TO YUMA or THE BRAVE ONE.

I'll personally be handling a print of 3:10 TO YUMA tomorrow night. I'll let you know what I find.

[Satcho9]

Teaser Poster. Enjoy.

http://www.aintitcool.com/images2007/twbb1.jpg

admin edit: image replaced with link to make thread readable