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Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by wilberfan on December 10, 2017, 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 donít know what this means, but I doubt he realizes heís 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...

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Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by Ghostboy on December 10, 2017, 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.
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Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by modage on December 10, 2017, 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 itís 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.

MAJOR SPOILERS FOLLOW

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, itís 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 Woodcockís 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, itís just incredible to see it opened up like that for just a brief few minutes, but wow. (I wonder how much of the filmís budget just went towards wrangling all the extras, costumes, elephants just for that scene?)

The mother scene is interesting. As has been mentioned itís definitely part of Woodcockís 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. Itís also interesting because I believe itís 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 donít know what this means, but I doubt he realizes heís 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.

Itís 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 wasnít as this feels tighter, but again that could all come down to the editing.

I have tons more thoughts and canít wait to see it again to keep discussing and thinking about it. Itís definitely my favorite of 2017 though much too early to say where it ranks in my personal PTA list, as Iím having a hard time imagining anything in the Top 3 or 4 ever being unseated.
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The Small Screen / Re: Game of Thrones (spoilers)
« Last post by polkablues on December 10, 2017, 05:31:51 PM »
You're... welcome?
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Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by jenkins on December 10, 2017, 04:59:22 PM »
looking forward to your list of art house favorites from 2017.
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Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by wilberfan on December 10, 2017, 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,

Quote
No one in this world, so far as I knowóand I have researched the records for years, and employed agents to help meóhas ever lost money by underestimating the intelligence of the great masses of the plain people. Nor has anyone ever lost public office thereby.
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The Small Screen / Re: Game of Thrones (spoilers)
« Last post by BreannaWatson on December 10, 2017, 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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Paul Thomas Anderson / Re: Phantom Thread - SPOILERS!
« Last post by csage97 on December 10, 2017, 02:09:02 PM »
it sucks that some can see a film such as this three times while others in my sort of position won't have access to it for at least a month and maybe not at all until it's released on Blu Ray...

In a weird, twisted, unfair way the campaign is having it's desired effect:  It's building up buzz, getting people even more excited to see it.  (And there is no hesitation for stories/articles/posts to emphasize the "DDL's-last-role!" angle--which I never really think about, to be honest.  To me, this film represents "PTA's Latest Feature" and not "DDL's Last".

In a weird, twisted, unfair way the campaign is having it's desired effect:  It's building up buzz, getting people even more excited to see it.  (And there is no hesitation for stories/articles/posts to emphasize the "DDL's-last-role!" angle--which I never really think about, to be honest.  To me, this film represents "PTA's Latest Feature" and not "DDL's Last".

Yep, and I can't fault it for that. I don't mind the major-city-limited-release thing to generate buzz. I guess I'm just more or less complaining that the wide release status is unforeseeable in the meantime. Will it come to a city near me at all? I don't know at this point. I'm starting to think it won't. Meanwhile, the Justice Leagues, Thors, and Daddy's Homes will go on rolling at the theatre in my city. It sucks that there's not a big demand for visionary, artistic content like Phantom Thread. It's not like the plot or the shooting or the acting is that weird or unconventional or experimental anyway. Why don't the masses appreciate this stuff?

I was having this conversation with a friend last night. He was talking about how he's excited to see Justice League. I said that superhero movies don't interest me. He suggested that they're about the only thing that gets people out of their homes and into the theatre seats. People apparently want to see these larger-than-life spectacles in the Baudrillardian sense.
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Paul Thomas Anderson / Re: Influences on each film
« Last post by Drenk on December 10, 2017, 01:38:24 PM »
Freddy almost falling of the ship while people are throwing bananas at him is some kind of allusion to the beginning of Gravity's Rainbow. In the script, I think I remember some stuff that sounded like V by Pynchon tooóalligators in the sewers.
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Paul Thomas Anderson / Re: Influences on each film
« Last post by Lewton on December 10, 2017, 01:28:26 PM »
Perhaps this will takes things too far outside of the intended focus of this thread, but it may be worthwhile to extend the scope to include literary references, and other kinds of influences (i.e., the transcript from the 1920s, from which he borrowed the "milkshake" line for use in TWBB).

A selection from the beginning of Moby Dick was included in The Master's script, for instance, and was essentially used to introduce Freddie: "Sometimes my hypo's get the best of me, I really feel like walking into the street and hitting people's hats off."

Other influences for The Master include Radiohead's "Harry Patch (In Memory Of)," which Anderson listened to a lot during the writing process.

I wish we knew more about his favourite books...
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