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

Started by depooter, March 27, 2005, 02:24:56 PM

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tpfkabi

how many xixax people will be there?

if at least 5 you could do like sports fans and each have a letter of xixax painted on your chest - then all get in a pic with PTA.

:yabbse-thumbdown:
I am Torgo. I take care of the place while the Master is away.

The Perineum Falcon

Quote from: bigideas on December 11, 2007, 11:20:42 AM
how many xixax people will be there?

if at least 5 you could do like sports fans and each have a letter of xixax painted on your chest - then all get in a pic with PTA.

:yabbse-thumbdown:
yeah, badideas
We often went to the cinema, the screen would light up and we would tremble, but also, increasingly often, Madeleine and I were disappointed. The images had dated, they jittered, and Marilyn Monroe had gotten terribly old. We were sad, this wasn't the film we had dreamed of, this wasn't the total film that we all carried around inside us, this film that we would have wanted to make, or, more secretly, no doubt, that we would have wanted to live.

Pozer

I said - THEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEYRE NOOOOOOOOOOOOOOOOOOOOOOOOOOOT GONNA HAPPEN!

Gamblour.

Goddammit I need to live in New York. Can we organize a pair of Xixax East/West coast parties when this is set to release on dvd?
WWPTAD?

grand theft sparrow

We should do it for the Oscars so we can all get upset together when No Country beats this out for Best Picture and Juno beats it out for Best Original Screenplay (due to a Syriana-type call that it's not close enough to Oil! to qualify as Adapted).

tpfkabi

Quote from: pozer on December 11, 2007, 12:38:56 PM
I said - THEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEYRE NOOOOOOOOOOOOOOOOOOOOOOOOOOOT GONNA HAPPEN!

do you only know that reference because of In Rainbows?
i've had the screenname for several years.

get a grip and paint your belly.

there's no way pta will forget that plug and then he'll join up.

:yabbse-thumbdown:
I am Torgo. I take care of the place while the Master is away.

Gamblour.

Quote from: IN SPAR_ROWS on December 11, 2007, 01:17:59 PM
We should do it for the Oscars so we can all get upset together when No Country beats this out for Best Picture and Juno beats it out for Best Original Screenplay (due to a Syriana-type call that it's not close enough to Oil! to qualify as Adapted).

Good enough for me.
WWPTAD?

Pozer

Quote from: bigideas on December 11, 2007, 01:59:44 PM
Quote from: pozer on December 11, 2007, 12:38:56 PM
I said - THEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEYRE NOOOOOOOOOOOOOOOOOOOOOOOOOOOT GONNA HAPPEN!

do you only know that reference because of In Rainbows?
i've had the screenname for several years.

Quote from: Pubrick on September 07, 2007, 12:50:16 AM
i believe in this gag.

tpfkabi

Quote from: pozer on December 11, 2007, 03:17:36 PM
Quote from: bigideas on December 11, 2007, 01:59:44 PM
Quote from: pozer on December 11, 2007, 12:38:56 PM
I said - THEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEYRE NOOOOOOOOOOOOOOOOOOOOOOOOOOOT GONNA HAPPEN!

do you only know that reference because of In Rainbows?
i've had the screenname for several years.

Quote from: Pubrick on September 07, 2007, 12:50:16 AM
i believe in this gag.

sep 7th.
many moons have passed.
you'll have to refresh my memory.
I am Torgo. I take care of the place while the Master is away.

hedwig

bigideas: read carefully. the gag is that your username is bigideas and the song says "don't get any big ideas they're not gonna happen" and you never get any big ideas. this is a fact proven by every single post you make.

that's the gag. he believes in the gag of using the lyrics to point out your cluelessness. he is quoting pubrick saying "i believe in this gag" because he believes in the gag that i just explained. whether or not pozer knew the song before In Rainbows has nothing to do with anything. i didn't understand why you asked that and i assumed you just didn't get it.. now i realize that is the explanation for all of the weird random senseless stuff you post: YOU DONT GET IT. :|

get it?

MacGuffin



Hard Life
by David Denby; The New Yorker

**SPOILERS**

Early in "There Will Be Blood," an enthralling and powerfully eccentric American epic (opening on December 26th), Daniel Plainview climbs down a ladder at his small silver mine. A rung breaks, and Daniel (Daniel Day-Lewis) falls to the base of the shaft and smashes his leg. He's filthy, miserable, gasping for breath and life. The year is 1898. Two and a half hours later (and more than thirty years later in the time span of the film), he's on the floor again, this time sitting on a polished bowling lane in the basement of an enormous mansion that he has built on the Pacific Coast. Having abandoned silver mining for oil, Daniel has become one of the wealthiest tycoons in Southern California. Yet he's still filthy, with dirty hands and a face that glistens from too much oil raining down on him—it looks as if oil were seeping from his pores. The experience chronicled between these two moments is as astounding in its emotional force and as haunting and mysterious as anything seen in American movies in recent years. I'm not quite sure how it happened, but after making "Magnolia" (1999) and "Punch-Drunk Love" (2002)—skillful but whimsical movies, with many whims that went nowhere—the young writer-director Paul Thomas Anderson has now done work that bears comparison to the greatest achievements of Griffith and Ford. The movie is a loose adaptation of Upton Sinclair's 1927 novel "Oil!," but Anderson has taken Sinclair's bluff, genial oilman and turned him into a demonic character who bears more than a passing resemblance to Melville's Ahab. Stumping around on that bad leg, which was never properly set, Daniel Plainview—obsessed, brilliant, both warm-hearted and vicious—has Ahab's egotism and command. As for Daniel Day-Lewis, his performance makes one think of Laurence Olivier at his most physically and spiritually audacious.

At the start, Daniel and a small group of workers, wildcatting for oil, give themselves entirely to their perilous labor. There isn't a word of dialogue. Again and again, Anderson creates raptly muscular passages—men lifting, hauling, pounding, dragging, working silently in the muck and viscous slime. Yet this film is hardly the kind of glory-of-industry documentary that bored us in school. "There Will Be Blood" is about the driving force of capitalism as it both creates and destroys the future, and the film's tone is at once elated and sickened. A dissonant, ominous electronic wail, written by the Radiohead guitarist and composer Jonny Greenwood, warns us of trouble ahead. Once the derricks are up, Greenwood imitates the rhythmic thud of the drill bits and pumps with bustling passages of plucked strings and pounding sticks. "Blood" has the pulse of the future in its rhythms. Like the most elegiac Western, this movie is about the vanishing American frontier. The thrown-together buildings look scraggly and unkempt, the homesteaders are modest, stubborn, and reticent, but, in their undreamed-of future, Wal-Mart is on the way. Anderson, working with the cinematographer Robert Elswit, has become a master of the long tracking shot across still, empty landscapes. The movie, which cost a relatively cheap twenty-five million dollars to make, has gravity and weight without pomp; it's austerely magnificent, and, when violence comes—an exploding oil well, a fight—it's staged cleanly, in open space, and not as a tumult of digital effects or a tempest in an editing room.

One of the workers holds and kisses a baby, then dies in an accident, and Daniel raises the child, whom he calls H.W. (Dillon Freasier), as his son and partner. The movie skips to 1911, when Daniel and H.W. are travelling around California in a tin lizzie, buying up land leases, at bargain rates, from ranchers and farmers who are sitting on underground oceans of gold. Daniel takes advantage of their ignorance to pay them less than they deserve, and, as he addresses a group of them, Day-Lewis's performance comes into focus. He lowers his chin slightly, and his dark eyes dance with merriment as he speaks in coarse yet rounded tones, the syllables precisely articulated but with a lengthening of the vowels and final consonants that gives the talk a singing, almost caressing quality. It is the voice of dominating commercial logic—an American force of nature. Day-Lewis, at fifty, is lean and fit, and his scythe-like body cuts into the air as he works or stalks, head thrust out, across a field. Much of the time, he projects a wonderful gaiety, but his Daniel never strays from business. He ignores questions, reveals nothing, and masters every encounter with either charm or a threat. He has no wife, no friends, and no interests except for oil, his son, and booze. He drinks heavily, which exacerbates his natural distrust and competitiveness. Even when he's swimming in the Pacific, he looks dangerous. In his later years, however, Daniel disintegrates, and the iconic associations shift from Ahab to Charles Foster Kane.

Upton Sinclair was a longtime socialist, yet he understood that nothing in American life was more exhilarating than entrepreneurial energy and ruthlessness. The movie retains the novel's exuberance, but turns much darker in tone. H.W. becomes a victim of the oil rush, and Anderson drops Sinclair's moral hero, a Communist who organizes the oil workers. Sinclair was a reformer who wanted to ameliorate the harsh effects of capitalism, but Anderson apparently reasoned that social radicalism did not—and could not—stop men like Daniel Plainview. Sinclair, the garrulous, fact-bound literalist, has been superseded by a film poet with a pessimistic, even apocalyptic, streak.

But Anderson does retain Sinclair's portrait of an unctuous young man who thinks he has the word of God within him: Eli Sunday (Paul Dano), who creates, in the oil fields, the revivalist Church of the Third Revelation. Dano, who was the silent, philosophy-reading boy in "Little Miss Sunshine," has a tiny mouth and dead eyes. He looks like a mushroom on a long stem, and he talks with a humble piety that gives way, in church, to a strangled cry of ecstatic fervor. He's repulsive yet electrifying. Anderson has set up a kind of allegory of American development in which two overwhelming forces—entrepreneurial capitalism and evangelism—both operate on the border of fraudulence; together, they will build Southern California, though the two men representing them are so belligerent that they fall into combat. The movie becomes an increasingly violent (and comical) struggle in which each man humiliates the other, leading to the murderous final scene, which gushes as far over the top as one of Daniel's wells. The scene is a mistake, but I think I know why it happened. Anderson started out as an independent filmmaker, with "Hard Eight" (1996) and "Boogie Nights" (1997). In "Blood," he has taken on central American themes and established a style of prodigious grandeur. Yet some part of him must have rebelled against canonization. The last scene is a blast of defiance—or perhaps of despair. But, like almost everything else in the movie, it's astonishing.

http://www.newyorker.com/arts/critics/cinema/2007/12/17/071217crci_cinema_denby
"Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art." - Andy Warhol


Skeleton FilmWorks

theyarelegion


Gamblour.

i can't wait until the first of the new york crowd gets to a computer.
WWPTAD?

Stefen

I SHOULD HAVE BEEN THERE WITH THEM BUT THE FRIEND I WAS STAYING WITH HAD A DEATH IN THE FAMILY! Worst day of my life.
Falling in love is the greatest joy in life. Followed closely by sneaking into a gated community late at night and firing a gun into the air.

modage

Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.