Has anyone here ever met PTA? Tell us your stories....

Started by Marty McSuperfly, January 10, 2003, 03:22:58 AM

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Tdog


Quote

Isn't there a moment in That Moment when you can sort of see Paul snort some coke? Think it's during the filming of the diner scene (which was a stressful reshoot, right?)
I don't recall that but he's 100% can be seen rolling joints in the editing room with Fiona Apple.

Drenk

I'm surprised he didn't also snort the fake cocaine on Magnolia.

I'm glad he seems to have stopped. I love The Hateful 8, but I wonder what a Tarantino cocaine free would have changed for his cinema.
Ascension.

Tdog

His films probably wouldn't have been so bloates and indulgent. I think Hateful 8 is his best film since Kill Bill Vol. 1.

Robyn

I have received PM's regarding my story, and I just want people to know that it did in fact happen. I am as saddened by this as anyone else, but we have to be strong and support eachother during these tough times. We survived the triggering opinions thread and we can survive this too.

Take care, #prayforpaul <3

mogwai

Quote from: Howling Fantods on November 11, 2017, 06:11:07 PM
Quote from: wilder on November 11, 2017, 02:49:46 PM
Some of us must remember this:

QuoteAlthough Anderson is one of the most autobiographical filmmakers of his generation, drawing heavily on his childhood in the San Fernando Valley, most stories about him offer some variation on "very little is known about his early years" or "little is known about Paul's childhood." He has stopped talking to most of his friends from those years, and none of them can say whether he just moved on naturally or broke with his past for some secret reason.

"When he did Magnolia," Stevens says, "I sent word through someone who worked with him to tell Paul it would be great if he could come back for a visit. I'd love to see him. And the answer came: 'Paul doesn't go back.'"

'The Secret History of Paul Thomas Anderson' - Esquire

I've heard a LOT of jokes being made in film circles about him being addicted cocaine etc and going to rehab. Never got a source on that.

I'm definitely sure he went to rehab after Ted Demme died. I'm
Also sure Tarantino also did some rehab after Jackie Brown.

#pubrick

tpfkabi

Quote from: Something Spanish on November 12, 2017, 05:12:25 AM
https://youtu.be/v0CQh9fI8B8

Wow. I don't remember seeing that at all. After seeing the Leah Remini show I started wondering if people involved with the film were harassed like a lot of people allege on that show.
I am Torgo. I take care of the place while the Master is away.

matt35mm

I live a blessed life.

Last night, I went to screening of PHANTOM THREAD at a fancy house/mixing stage (where the film was actually mixed) in the Hollywood Hills, followed by a reception with PTA, Vicky Krieps, Dylan Tichenor (editor), Mark Bridges (costume designer), Daniel Lupi and JoAnne Sellar.

I talked to PTA for 20 minutes. And then I talked to Dylan Tichenor for around 45 mins.

I've been to several things with him there, but he was always surrounded by too many fanboys for me to have an actual conversation with him, so I never approached him. But this was the right mix of being a smaller crowd and while many people wanted to talk to him, I was probably the only super nerd there, and I had seen the movie 3 times, so I felt like I had things of substance to say.

He was incredibly nice to me. He was shocked that I had seen the film 3 times already. I thanked him for his films and told him how much they have meant to my development, and talked about XIXAX (which he is aware of) and said that I've made so many friends there who all have the common bond of having PTA be the central inspirational artistic figure that got us on this path of loving cinema the way we do. I said I have these friends from all over the world, including a small town in Northern Norway, thanks to his films. He said it warmed his heart to hear that.

We talked about a few things regarding the film. He talked a bit about working without a DP, and I asked him if there was anything he missed about working with Robert Elswit or Mihai Malaimare. He said that Robert was very good at staging things and would give Paul great suggestions to simplify shots. Here, he had his camera guys who he's close with and they would just talk through that stuff in a similar way.

We talked a little bit about how the film went through 3 coloring processes (digital for the DCP, color timing for the 35mm, a separate round of color timing for the 70mm, which was also done for THE MASTER and INHERENT VICE). I asked him about how he adapts the film to the actual location and to the actors. The London house in the film is so central to the feeling of the film. Apparently it was going to be another house, which fell through at the last minute, but they found this house and it turned out to be better, with the amazing staircase. I don't think he had to do much adapting with the actors. He obviously wrote it for Daniel Day-Lewis, but Vicky Krieps (who he just found with taped auditions) was not too far away from what he was imagining when writing. He doesn't really rehearse, he said.

I said my goodbyes and we exchanged thank yous with good eye contact. I felt good about it.

Then I found my way toward Dylan Tichenor. That was a longer conversation about all sorts of things... as far as interesting nuggets about the film, he said that there was a lot that was cut out of it, just various story threads that took away from the main story. I think he said somewhere around 40 scenes were cut out. A very interesting nugget of info that is a spoiler, so I won't detail it here, but basically a major story element that was invented in editing. Which is a common enough thing, and something that I've done myself as an editor. He said that Daniel Day-Lewis was very consistent as an actor, not really changing it up from take to take. Most of the actors were fairly consistent but the others had a little more room to try different things during takes, whereas DDL's changes were fairly subtle. Then we talked about some general editing and movie stuff. This was not a one-on-one conversation, more a group conversation.

Anyway, um, I can die now I guess.

wilberfan

Quote from: matt35mm on December 09, 2017, 11:20:51 PM
I live a blessed life.

Last night, I went to screening of PHANTOM THREAD at a fancy house/mixing stage (where the film was actually mixed) in the Hollywood Hills, followed by a reception with PTA, Vicky Krieps, Dylan Tichenor (editor), Mark Bridges (costume designer), Daniel Lupi and JoAnne Sellar.

I talked to PTA for 20 minutes. And then I talked to Dylan Tichenor for around 45 mins.


What an incredible opportunity.  Glad you made the most of it.  Thanks for sharing it with us.


Alethia

Damn, thread closed! That sounds like one amazing, surreal evening.


FilmCell

I thought his attitude to his fans was incredibly rude. His films are great, but they don't ever make a profit yet he still does personal art films at medium sized budgets thanks to his hardcore devotees. The dude is so dismissive and can't even look his fans in the eye. Made me lose a little respect for him honestly.


wilberfan

Maybe I'm inclined to want to give him the benefit of the doubt, but he strikes me as being very patient in that video.  "We gotta split...", but he's still giving the assembled a few seconds and signing everything put in front of him. 

ElPandaRoyal

WTF? Dude is clearly in a rush, and he's still taking time to sign some autographs. What else do people want from him and from artists in general?

I thought the deal was we paid him and he gives us great art the we watch and rewatch and talk about for years. From then on, he doesn't owe anybody anything, right? Everything else we may get is just a bonus.
Si

Something Spanish

Quote from: FilmCell on December 11, 2017, 09:07:27 PM
The dude is so dismissive and can't even look his fans in the eye. Made me lose a little respect for him honestly.

lol.