XIXAX Film Forum
The Director's Chair => Paul Thomas Anderson => Topic started by: depooter on March 27, 2005, 02:24:56 PM
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I will be posting a story about PTA's next film in the next 24 hours on my site. I'm 99% convinced that this will be accurate. Of course, in Hollywood, things change, but it's the first real news on what direction he is heading....
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I'm pumped but what a fucking tease....
Give us a hint, please?
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I'm excited!
And how appropriate that that was your 82nd (Frog) post!
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Greg, this is just your way of getting more traffic to your site to make your advertisers happy, isn't it?
Well, it worked, by god. I can't wait for the update.
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Greg, this is just your way of getting more traffic to your site to make your advertisers happy, isn't it?
don't worry GB, we can work around it.. when mac reads the news he can post it here. :yabbse-wink:
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True... used to go into that site very often and to many other news sites... until I can get most of the stuff here
I even read news here before I read Variety in the morning. :yabbse-thumbup: Mac
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Sweet.
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:shock:
Well, there goes any chance I had at sleep tonight!
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this is UNBELIEVABLY EXCITING> it begins... :shock:
edit: oh, hold on.
HE IS RISEN.
HE IS RISEN, INDEED.
easter reference, maybe neon will get that.
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Phrases that I hope don't appear in Greg's much-anticipated PTA story:
-- "Pauly Shore will star..."
-- "...a buddy-movie about the War of 1812..."
-- "Anderson is looking to do something shorter than Punch-Drunk Love..."
-- "...directing from a script by Akiva Goldsman..."
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what time is it now?
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time to watch his filmography back to back
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Cockteasing non-news.
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or drink some martinis and listen to the boogie nights commentary while drunkenly yelling and throwing things at your nephew, if you have one, and telling him to throw them right back at your face, because that's war![/i]
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this is UNBELIEVABLY EXCITING
damn straight! :-D can't wait
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Just don't wait until the 24th hour to post this news.
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JUST POST IT GREG!!! WHAT ARE YOU WAITING FOR?!!!!!!!!!11!
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JUST POST IT GREG!!! WHAT ARE YOU WAITING FOR?!!!!!!!!!11!
And Stefen wins the "First Person To Crack" contest. (just teasing)
His prize will be a slightly used Little Bill action figure from Mattel.
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April Fools.
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that would be so horrendously un-funny.
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Perhaps it will turn out that PTA secretly spent the past two years ghost-directing Star Wars: Episode III and that Mace Windu is actually the twin brother of Jimmy from "Hard Eight"
Plus, at the end, frogs fall on Anakin.
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I just looked at the site. First i've looked at in weeks. is the news that Daniel Day Lewis might be in his next film? Seems like just speculation to me.
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i guarantee this news to be very much like the stuff that have killed many of my gilled friends...oily
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Hey, the new thing's up on the main page.
PTA'S NEXT FILM!
SOME SOLID INFO ON PAUL'S NEXT!
I don't see the actual post yet though.
EDIT: There, it's up. Oil.
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Have you been wondering what PTA has been up to since 2002's Punch-Drunk Love? Paul never ceases to surprise us & it seems his next film will most likely be......."Oil"! "Oil!" is 1927 novel by Upton Sinclair that PTA has adapted. This would be his first film not based on on of his own original screenplays. It's a tale of of scandal, intrigue and politics. Makes sense & ties in nicely to this story (http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2004/07/28/BAG0C7U3UI1.DTL) reported awhile back. It looks like Daniel Day-Lewis will be the star. I know, that's not too much of a surprise, but that's all the casting I've heard thus far. Lastly, it seems that Paul is still looking for financing, so a studio has yet to be determined . Obviously, a possible release date can't even be speculated at this point. I'm very confident that my information is correct, but it's Hollywood & things can (& do) change on a regular basis. Stay tuned for the latest.
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...sickfins... you... ....bah.
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an adaptation of Upton Sinclair's "Oil" from 1927 starring Daniel Day-Lewis? Very nice... Looks like I got a summer read.
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A little background on Oil...
http://www.socalhistory.org/Biographies/upton_sinclair.htm
Oil! has been described as
one of the great novels of Southern California and Sinclair’s most artful and effective work. Published in 1927, it gave fictional life to the frenzy that followed the discovery of oil in Signal Hill, Huntington Beach and Santa Fe Springs in the early 1920s. In a foreword to a 1997 paperback re-issue, Jules Tygiel wrote that Oil! was more than a portrait of ‘20’s life in Southern California. "[It] ultimately spread far beyond the boundaries of Southern California, encompassing World War I, the Russian Revolution, the Teapot Dome and Elk Hills bribery scandals, the fractious battles of the American left, the morality of youth in the roaring twenties, and a broad spectrum of other issues. Yet, Oil! remains at its core what literary critic Lawrence Clark Powell has called, ‘a novel of high California octane…the largest scale of all California novels.’[/list:u]
I wonder if this would be a period piece...
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Looks like I got a summer read.
yeah me too. and i love the idea of PTA working with Daniel Day-Lewis
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(http://us.news1.yimg.com/us.yimg.com/p/rids/20050324/i/r1356360705.jpg)
Actor Daniel Day Lewis attends the premiere of his new film 'The Ballad of Jack & Rose' in New York March 23, 2005.
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From a Croation fellow at Amazon.com ~
"Oil!" is a fast-paced, lively and colorful story. Although Sinclair uses it to preach his political views, it is nevertheless a good piece of literature and an interesting historical testimony to the era in which it was written. Another striking thing is how Sinclair's descriptions of corporate manipulations tend to mirror very recent events. Interesting also is that Sinclair uses one of the oldest cliches in American literature, the coming-of-age story, as the vehicle for this epic; at the same time, there are indications that Sinclair seems to mock this manner of story-telling - from the main character's rather silly nick-name, "Bunny" to his perennial inability to make up his mind about where he wants to go with his life, i.e. he never really 'comes of age.' Other reviewers have noted Sinclair's apparently naive promotion of socialism/communism/the Bolsheviks, which is a valid criticism, although to me it seemed more a case of the author throwing out ideas to provoke readers into thinking rather than an attempt to persuade them. In this sense, his use of the family of a wealthy California oil baron as the main protagonists is quite telling: although Sinclair does take the opportunity to highlight the hypocrisy and greed of the moneyed classes, he also makes a genuine attempt to portray them as real people rather than just grotesque caricatures.
~ Apparently Oil! also places large emphasis on the father-son relationship. Between that, coming of age, and a funny nickname, this seems perfect for Paul.
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Yes! Watch "Oil!" climb the bestseller charts on Amazon.
Great, great news.
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another idea stolen. :(
another awesome film in the making. :)
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do you suppose he has the beard solely for pta's next project?
that was the implied connotation.
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also. has greg taken down the news frome cigarettes and coffee? cos i read the news while i was at work. and now that i'm home it's not there. the update has disappeared. any one know why? did paul perhaps ask greg to take it down to control speculation or am i reading too much into this?
It's still there.
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Yeah, I don't know if I should read the book first. Someone decide for me.
It's funny that the quote on the cover from Amazon says, "A marvelous panorama of Southern California life...It's story-telling with an edge on it." That could be said for any PTA flick, generally.
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i'm getting a pre-chinatown feeling here.
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as much as i love knowing everything i can learn about paul thomas anderson. i believe the experience of watching a film is greatly diminished if you read the book upon what it is based first.
i'm torn.
i don't think i'll read the book. i want a truly cinematic experience.
anyone else feel the same way or am i crazy?
you're not crazy. my first instinct was also to read the book to learn more about the project, but that is probably the worst thing you could do to a PTA movie. this seems surprising.... but if it wasnt, that would probably be bad.
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I'm leaning heavily toward not reading the book. ...
If for no other reason than the fact that I already have about 73 books piled up on this summer's reading list. :(
It will be a fascinating reading for afterward, though, to see how PTA cracked the adaptation.
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I'm actually leaning heavily toward reading the book. And I'm not sure why. Maybe it's because I'm assuming the movie will be different enough from the book.
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I read an interview with Day-Lewis recently in I believe Moviemaker magazine (not sure) and when they talked about his future and retirement, he surprised the interviewer by saying he had a new project (film) to do in June. Considering how thorough he is with each film, it would be no shock this "project" would be the PTA film.
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I'm not so excited about this so far... and it seems like a lot of speculation... I'd rather wait before reading the book or getting excited about it
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in the day-lewis pic above, who the hell is that dude breathing down his neck? creepy bastard
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I'm actually leaning heavily toward reading the book. And I'm not sure why. Maybe it's because I'm assuming the movie will be different enough from the book.
tho he prolly picked this book cos it's obscure enuff that only hardcore fans would actually sought it out to spoil it for themselves. i mean, it's not like he's adapting a bestseller.
i'm gonna read the book if i can find a copy of it. in my experience, books only hurt adaptations if the movie is a piece of crap. unless this is sum book with a major twist, knowing the story won't hurt the film at all. from reading the amazon reviews, sumone called it a precursor to "dallas", so maybe it is full of twists.
either way, it's a historical piece about a land in transition. and if it's as good as it sounds ambitious, i'll be rewatching it so many times it won't matter if i read it first.
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i'm in a library right now, and...there...i checked it out
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I won't be able to help it. I'll be picking this book up very soon.
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in the day-lewis pic above, who the hell is that dude breathing down his neck? creepy bastard
his twin brother. rodriguez day-lewis.
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(http://xixax.com/images/avatars/192890761442481da0b8e58.jpg)
Okay, everyone, it's done now... if I see any more of these, you'll have to answer to me
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i'm excited!! new PTA film!! i'm going to my local library right now and i'm gonna pick up a copy of OIL!.
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sounds too smart for pta.
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i don't think i'll read the book. i want a truly cinematic experience.
anyone else feel the same way or am i crazy?
I can understand that frustration, but perhaps in this instance reading the book may be helpful to get a sense of WHERE paul wants to go cinematically. The differences are more important than the similarities.
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well hopefully this will go a little way to improve the situation discussed here: http://www.xixax.com/viewtopic.php?t=7356
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Great news, I always had the feeling that some news would be release in some holyday, when I returned from my xmas vacation I sadly saw there were none, but now... :-D .
For your admins only. Not really, for xixaxers only.
1.0 Will this be the official thread for the movie?
If so, I think here in order to not be flooded with threads about this project you should change the title of the thread, and here we can post about casting, rumors, pta articles about the film, posters, movie reviews.
1.1 If this indeed is his next project, apart from the official thread there could be official threads about:
- Soundtrack
- DVD
- Q&A's
- Festivals
- Any others?
I don't know if this idea is too rigid, but a little order would prevent this forum to be flooded with individual threads about every little detail about the project.
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i've been thinking about the reading the book overnight. now i'm sort of leaning toward reading it. but am not convinced as yet. i don't want to be in the theatre waiting to see how he handles a scene or how he shows a landscape described visually. i'm concerned about that. still weighing it up. i'd like know what people think of the book when they've read it. and i'm not sure this is a very obscure book. by the sounds of things he's a somewhat well known author. but i'm not into literature. i've never heard of him.
I would read it now just to get a sense of what may have inspired Paul to adapt it into a script in the first place. By the time it's released the memory of the book will be fuzzy anyway--provided you read it this summer. Which, btw, is an excellent suggestion. This novel looks long.
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Interesting news. If he makes it a period piece, it would be very cool to see how he handles it. I could seriously see him making one actually. Daniel Day-Lewis could be a good fit for PTA as well. Can't wait to hear more news.
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If it's a period piece, I can't fucking wait for Brion's score.
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Interesting news. If he makes it a period piece, it would be very cool to see how he handles it. I could seriously see him making one actually. Daniel Day-Lewis could be a good fit for PTA as well. Can't wait to hear more news.
If it's a period piece, I can't fucking wait for Brion's score.
PAGE 3 SPOILER
it's a period piece
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You live up to your name old boy!
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uh it's no secret that it's about sumthing that happened in the 20s, so why is there speculation on whether it's a period piece? it's pretty damn obvious, i mean, are u ppl reading anything other than ur own posts? please don't waste space on things that could be answered by reading the thread.
Great news, I always had the feeling that some news would be release in some holyday, when I returned from my xmas vacation I sadly saw there were none, but now... :-D .
For your admins only. Not really, for xixaxers only.
1.0 Will this be the official thread for the movie?
If so, I think here in order to not be flooded with threads about this project you should change the title of the thread, and here we can post about casting, rumors, pta articles about the film, posters, movie reviews.
1.1 If this indeed is his next project, apart from the official thread there could be official threads about:
- Soundtrack
- DVD
- Q&A's
- Festivals
- Any others?
I don't know if this idea is too rigid, but a little order would prevent this forum to be flooded with individual threads about every little detail about the project.
yep that's a good idea. we can create those threads when/if more info comes along. years from now.
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This novel looks long.
I got it today. It's 527 pages, small print too.
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small print too.
there's no justice.
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This novel looks long.
I got it today. It's 527 pages, small print too.
I'll wait for you to tell me all about it.
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daniel day lewis has three names. :bravo:
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uh it's no secret that it's about sumthing that happened in the 20s, so why is there speculation on whether it's a period piece?
There's a strong probability it's a period piece, sure... but isn't there a possibility that it's a loose adaptation or a time-warped adaptation?
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someone post a current photo of phil hoffman and we'll know what's what.
(http://us.movies1.yimg.com/movies.yahoo.com/images/hv/photo/movie_pix/mgm/capote/philip_seymour_hoffman/capote.jpg)
i had a flash this morning 'i hope it's not miramax' but i don't know why i thought that.
Because you realized Bob and Harvey are involved with Disney-owned Miramax anymore.
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I read about this movie just today and there are already 5 pages of riffing the "what ifs" on it.
God, I love Xixax.
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I read about this movie just today and there are already 5 pages of riffing the "what ifs" on it.
God, I love Xixax.
No doubt.
I've been busy lately but finally discovered this thread! Man, I am really excited! I absolutely love the casting of DDL. I can't wait! Oh and this from Amazon.com's website.
From Library Journal
Sinclair's 1927 novel did for California's oil industry what The Jungle did for Chicago's meat-packing factories. The plot follows the clash between an oil developer and his son. Typical of Sinclair, there are undertones here of socialism and sympathy for the common working stiff. Though the book is not out of print, this is the only paperback currently available.
Copyright 1997 Reed Business Information, Inc.
Product Description:
In Oil! Upton Sinclair fashioned a novel out of the oil scandals of the Harding administration, providing in the process a detailed picture of the development of the oil industry in Southern California. Bribery of public officials, class warfare, and international rivalry over oil production are the context for Sinclair's story of a genial independent oil developer and his son, whose sympathy with the oilfield workers and socialist organizers fuels a running debate with his father. Senators, small investors, oil magnates, a Hollywood film star, and a crusading evangelist people the pages of this lively novel.
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Trust me. I can't reveal my sources, but i'm confident this will be the next thing PTA does....of course with Paul, he could do a 180 and go in a different direction...don't forget that the PDL had a few elements from "Knuckle Sandwich" (as did Magnolia)...who knows maybe he has other finished or partially finished scripts lying around (Action Adventure, Animated film, etc.)....
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So basically your sources say that he has this project in mind, but not that he is doing this project next, or he is already working on it, or he is thinking about casting, or anything... Everyone is so hungry to hear news about PTA that we're getting excited but we dont know for sure if this is happening or not... I want to wait before I get excited
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No I'm saying that this is his next planned project, but things can always change. Until a deal is solidified with a studio, then it's all speculation..But I will and always do stand by my comments. I don't play the rumor game.
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And that is why we love you.
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D. Poot is solid, but things change.. if they do, it's not because he was wrong.
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No I'm saying that this is his next planned project, but things can always change. Until a deal is solidified with a studio, then it's all speculation..But I will and always do stand by my comments. I don't play the rumor game.
Ok then thats cool :)
I would hate to read the damn book and then know that he didnt even read it!!! :doh:
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so it seems pta is finally maturing. cool. I read upton sinclaire's "the jungle" last year. it was really good, but sometimes felt like propaganda for socialism. i'll probably hold out on reading OIL. and for some reason andykal's last comment really annoyed me and i wish i had the opportunity to punch his face. little whiner.
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so it seems pta is finally maturing. cool.
Yeah, because Hard Eight, Boogie Nights, Magnolia and Punch-Drunk Love were very immature.
:saywhat:
:yabbse-thumbdown:
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so it seems pta is finally maturing. cool.
yeah, its about time...
that is if reading and understanding books is a sign of maturity...
go dog go...
speculation is masturbation...procreation is fascination...atticusation is revelation...
hyavmc
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go dog go...
I'm partial to Dick and Jane. Jane, mostly.
speculation self-improvement is masturbation...
...but you probably don't like that idea too much.
hyavmc
lyhbl
fnootwboos
I look forward to the true reason for the season. :yabbse-thumbup:
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I would hate to read the damn book and then know that he didnt even read it!!! :doh:
it sucks when you want to do some cool thing because you think someone cool did it only to find out the cool thing you thought the cool person did may have never been done at all...
cool whip is a topping best enjoyed when properly thawed...
iwtkwli...iwytsm
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so it seems pta is finally maturing. cool.
Yeah, because Hard Eight, Boogie Nights, Magnolia and Punch-Drunk Love were very immature.
:saywhat:
:yabbse-thumbdown:
took the words from my mind
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I'm partial to Dick
...oh the pain of being misquoted and misunderstood
sometimes its better not to say anything at all...
we are all learning the same lesson...only some of us will get it...
look between words rather than for words...ask the blue birds rather than board nerds...
nfaadmf
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I was hoping PTA would take over this project:
http://www.xixax.com/viewtopic.php?t=7232
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I'm partial to Dick
...oh the pain of being misquoted and misunderstood
sometimes its better not to say anything at all...
we are all learning the same lesson...only some of us will get it...
look between words rather than for words...ask the blue birds rather than board nerds...
nfaadmf
you always got to prays
and hope for the best
a response from
the highest of the high
i suppose?
bored nerds are the most dangerous
i fear the revenge of them
they have risen up four times
once with goose
once in paradise
once in another generation
and once in knuckle love
and there are plans for another revenge in two uh oh six
this is saddening
without the oil the engine could seize
need to find a fun ding?
be a tourist at around 5:19
the best kind there is
agreed?
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Any new pictures of him...Like in the Ballad of Jack and Rose Screening...I miss him...
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I like how the thread is now called "Sticky: Toilets OIL!" :(
In memoriam.
We will remember to forget the past
and look to the future.
Look to the few, sure,
who will please
and appease.
The goose that laid the golden egg was slaughtered
but still sweet when fully cooked.
In paradise, all is lost until divine
intervention sets things right.
I'm not talking about your generation.
That's your right, that's something truly special.
Knuckle-deep in pudding.
That's that.
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hoping this oil spill is real and not a foil to not spoil the deal
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i hope this movie rocks the pope's dead arse!
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raspberry
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mogwai who's you're avatar girl? :oops: :kiss:
Long corridors in films...return to the womb.
So any recent pictures of the man?
Oil! If he does is you think he'll keep the title?
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Well, he could change the title to:
-- "Bunny!"
-- "Petroleum Nights!"
-- "Magnates!"
-- "Punch-Drunk Prospectors!"
[/b]
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On second thought, I'm not going to read the novel "Oil". I didn't realize it was over 500 pages. For as talented as I think PTA is, that length presents major problems of the usual with novel adaptations. Though I think he could make a film to hold up against the novel, I think my expectations would be too high.
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It'd have to be Magnolia-size in scale, too. It reminds me of Gangs of New York in that sense, except, of course, it would be GOOD. If you think the only reason not to read the novel is that your expectations would be too high, I'd say to read it anyway. It's a PTA film, of course expectations will be high, period.
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It'd have to be Magnolia-size in scale, too. It reminds me of Gangs of New York in that sense, except, of course, it would be GOOD. If you think the only reason not to read the novel is that your expectations would be too high, I'd say to read it anyway. It's a PTA film, of course expectations will be high, period.
There are other problems though. The biggest is the loss of freshness when watching the film for the first time. For as much as PTA could turn this novel on its head, its still an adaptation. I would have ideas where the film could be going as it moves along. Worst, I'll probably know. If I do read the novel, I'll do it afterward.
I also happened to read Gangs of New York before watching the film. The film wasn't ruined. Bill The Butcher's story couldn't have been more different. The book is history with little continuaty between each story.
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i hope this movie rocks the pope's dead arse!
In the end PTA and the Pope share the same aspiration...
Bring us together.
They are poets of humanity.
Any recent pics of PTA?
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Any recent pics of PTA?
i have a picture i took of pta a couple of months ago. i was holidaying in santa monica, ca. i had just seen a movie with my friend and that was "constantine" which was okay. when we exited the movie theatre we heard someone laughing behind us and i recognized the laugh. i turned around and there's paul with a couple of friends. there's already some people talking to him and he's signing autographs. i took one picture of him with my cellphone and here it is:
(http://img.photobucket.com/albums/v720/ithica45/pta2005-02-22.jpg)
we asked no questions about if he's working on a new script or anything. (we all know what he's working on now). we just said we liked his movies and he seemed very touched by that.
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wow, he looks identical to what he looked like in brooklyn 2 years ago.
(http://www.calsmodels.com/images/XIXAX/pt_brooklyn.jpg)
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i feared that there were someone like you here. :yabbse-grin: :yabbse-thumbup:
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haha, i knew those red poles were familiar. :yabbse-grin:
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we just said we liked his movies and he seemed very touched by that.
That was so cute.
Thanks guys
I haven't smoked in two weeks. I see those cigys in the picture and I get a big craving.
No remember "Peter Jennings".
Hey by the way there's this dude at imdb who's been posting for a while that PTA's next film is on OJ's murder case. Orlando Jones is playing OJ and apperently he's beefing up.
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This is great news. I'm sure he'll tell it as period piece and that's what I'm giddiest about. I love old California, architecture and history don't run very deep here but I'm so fascinated by what we do have. I spend a lot of time driving through the old neighborhoods in OC and LA and often feel heartbroken to imagine all that we have lost. I've always enjoyed watching the California that PTA has shown us onscreen before but I am really going to love this.
I would love to read the book, never knew about it until now, not just because of the movie, but otherwise it sounds very interesting to me. I won't read it until after I see the movie. I decided this rule a long time ago: movie before book if you have a choice. Even though you might think the book would be fuzzy by the time the movie is released, there will be a lot of speculation and talk to keep you stimulated on the details of the book up until the film opens.
Oh, I also think DDL is an ideal actor to lead this project.
So what do you guys think...once we hear the project has been financed, 3 more years?
Painful.
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..don't forget that the PDL had a few elements from "Knuckle Sandwich" (as did Magnolia)..
what exactly is Knuckle Sandwich?
i just now found this thread.
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what exactly is Knuckle Sandwich?
http://www.ptanderson.com/featurefilms/love/timeline.htm
about the "top secret" PTA script entitled "Knuckle Sandwich". They go on to explain details about the script & speculate that it's been written for the proposed Adam Sandler Project. Then at the very end of the article, they dismiss the script after speaking with their "sources" at New Line. Without bashing another site, please remember that Harry Knowles' site primarily consists of rumors. Some that are true, some that are not. Rest assured, that PTA did write a script called Knuckle Sandwich back in 1993 & it's not the focus for the Adam Sandler project.
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thanks.
i knew that "Knuckle" was possibly part of the title, but depooter said that PDL and Magnolia contained parts of it..........which means they either have a copy of this script or PTA just said so in an interview.
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it says that knuckle sandwich was pta's first published screenplay on gregs site...
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Psst.
"There Will Be Blood" is the title of the new movie.
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Have I told you lately that I love you?
A good question to consider, though:is whether this will be a period piece (Sinclair's novel was originally published in 1927) and about the Teapot Dome scandal, or if it will be a modern day retelling with a possible link to the controversy surrounding the oil industry stemming from the Iraq War. Although by far P.T.'s best film was his only period piece, my bet is its the latter and that would be preferable.
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uh, i'm willing to bet my balzac that he won't modernize it. (cine knows how much that's worth)
he has the opportunity to tell a very unique "birth of a nation" type story about a defining moment of his beloved state, why would he cater to idiots by stripping away all subtlety and making it about today? if ppl wanna draw parallels that's basically what subtext is about, i can't believe anyone can honestly consider it. i mean, PDL wasn't that great, but he didn't become a RETARD. sheesh.
i'm not saying he won't make any changes to it, but to set it today would be a real let down.
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uh, i'm willing to bet my balzac that he won't modernize it. (cine knows how much that's worth)
he has the opportunity to tell a very unique "birth of a nation" type story about a defining moment of his beloved state, why would he cater to idiots by stripping away all subtlety and making it about today? if ppl wanna draw parallels that's basically what subtext is about, i can't believe anyone can honestly consider it. i mean, PDL wasn't that great, but he didn't become a RETARD. sheesh.
i'm not saying he won't make any changes to it, but to set it today would be a real let down.
Setting Oil in the present day would be like setting Chinatown in the present day. Chinatown deals with corruption at a very specific time in L.A.'s history, and the parallels to the world of 1974, when the film came out, were self-evident.
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Is this movie out yet? :brickwall:
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has anyone been to the imdb message boards for pta? i usually avoid them because their full of fools and this is a prime example, a guy claims that he is good friends with orlando jone's assistant and pta's next film will star jone's as oj simpson. he's pretty persistent and awfully confident throughout the thread. oh, and he says ptanderson.com is run by fan boys. what a dumb shit.
anyways: http://www.imdb.com/name/nm0000759/board/nest/17275639
sorry for such an utterly pointless post, but then again, it'll probably fit right in.
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I have a gut feeling that he's telling the truth! :violin:
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I have a gut feeling that he's telling the truth! :violin:
i hav a gut feeling i'll be punching u in the gut!
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I'm surprised that after I revealed the title to the flick, there was pretty much a non-response. Perhaps my upcoming script review will shake things up.
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I'm surprised that after I revealed the title to the flick, there was pretty much a non-response. Perhaps my upcoming script review will shake things up.
I just saw your title reveal. What is your source?
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I'm surprised that after I revealed the title to the flick, there was pretty much a non-response. Perhaps my upcoming script review will shake things up.
I just saw your title reveal. What is your source?
himself, obviously.
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I'm surprised that after I revealed the title to the flick, there was pretty much a non-response. Perhaps my upcoming script review will shake things up.
I just saw your title reveal. What is your source?
My copy of the script.
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I'm surprised that after I revealed the title to the flick, there was pretty much a non-response. Perhaps my upcoming script review will shake things up.
I just saw your title reveal. What is your source?
My copy of the script.
Where did you acquire a copy of the script?
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Dude, I'm not gonna blurt that out on the 'net and bite the hand that feeds me.
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Dude, I'm not gonna blurt that out on the 'net and bite the hand that feeds me.
Was it Space Ghost?
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Okay. So here's the deal:
'There Will Be Blood' is not a contemporary-Bush-slamming treatise. It's set firmly at the turn of the century. It's not a Magnolia-esque ensemble piece. It's a Father/Son story, plain and simple (and yes, set in Southern California). Daniel (a nod in the script to Day-Lewis?) is a down-and-dirty, hard-working prospector. He struggles and gains some success. One of his early endeavors kills a partner, which leaves him the responsibilty of taking care of the man's son, H.W. Cut to a few years later. Daniel is a respectable oil man, and H.W. is his right hand, illiterate and wise for his age. Daniel is presented with a choice prospect by a young man, and despite his reservations, pursues it.
The prospect is the young man's family homestead. The family is fanatically religious and quite dim. They sell the rights to drill to Daniel, and at first, things seem okay. The land is fertile, and success seems eminent. But troubles arise when the family's devotion to Christ gets in the way (which entails beating children). The eldest son (who fanices himself a healer) wants to bless the drill bit. And renovate the church. Daniel scoffs at this. And then disaster strikes. To whom, I will not reveal here, but it propells much of the story.
For 130 pages, it's a great script. Compelling and page-turning, there are graphic descriptions of how oil-drilling works and what happens when it goes awry (read: graphic deaths). It reads like any PTA script, save for any curses or debauchery ('cept for one moment, where Daniel's sex life is brought up). Everything is great... until the last 20 pages. We jump 15 years ahead... and it all fallls to shit. The narrative momentum has been derailed. The punch is not there. And with some bad casting, some scenes at end could turn out down right laughable (here's a hint: Stacy Edwards in 'In the Comapny of Men,' that's a fine line).
Honestly, as is, I do not see this movie getting made anytime soon. It's too big, too sprawling, and too depressing (not to mention the outright contempt that's displayed towards organized religion). There is no humor here. It's a straight-up, hard-core drama about the need for family connections, yet a contempt for humanity (my favorite scene has Daniel explaining how he hates, well, everyone).
P.S. The title has to do with baptisms.
P.P.S. I'm wondering at this point if this script has anything to do with Sinclair's 'Oil!' I have not read the book, but from what I've gathered, apart from the time period and the drilling stuff, it's quite a different story (and btw, the script makes no mention of any adaptation).
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but weak2ndact don't be offended that people don't believe you because nothing is confirmed as yet. i'm still somewhat sceptical but believe, if you are lying, you've done a good of suckering me in, to a degree.
but like i say. it wouldn't surprise me at all now if what weak2ndact is saying true.
let the speculation frenzy begin.
wtf dude? there's no reason to think w2a is lying about what he's said.
especially when he writes:
P.P.S. I'm wondering at this point if this script has anything to do with Sinclair's 'Oil!' I have not read the book, but from what I've gathered, apart from the time period and the drilling stuff, it's quite a different story (and btw, the script makes no mention of any adaptation).
he obviously has a script in his hands. the legitimacy of this script (and the draft number?) remains in question, he himself admits that.
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Well if this script's story is different that Oil! then I wonder what the connection is between this draft and the news elsewhere that he's adapting the book.
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I think it's pretty obvious what's going on here.
The fake script.. the announcement. This is all a clever ruse to sell copies of Sinclair's Oil. P.T. has sold out.
look forward to anouncements of other adaptations of unsuccesful books, complete with "screenplay leaks" written to look like works of P.T.
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Daniel scoffs at this. And then disaster strikes. To whom, I will not reveal here, but it propells much of the story.
i've got goosebumps...
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Okay. So here's the deal:
'There Will Be Blood' is... a drama about a contempt for humanity (my favorite scene has Daniel explaining how he hates, well, everyone).
who would have thought there was so much negativity in him? he always seems so affable...
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Daniel scoffs at this. And then disaster strikes. To whom, I will not reveal here, but it propells much of the story.
i've got goosebumps...
I knew it!!
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So what you're sayin' is that it pretty much has a Weak3rdAct...
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pwned
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Anyone made any progress with the book yet? I'm about a quarter of the way through, after starting it last week - it's a good read, highly enjoyable, possibly subversive, although I haven't made it that far yet (although I anticipate it, knowing that Sinclair was a socialist).
Sinclair's depiction of revival preaching, and Bunny's dad's subtle lampooning of it, is hilarious.
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Looking forward to reading this. I liked The Jungle.
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The latest update at Greg's site suggests that the new title may be There Was Blood.
Come on, Weak2ndAct, review the script!
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Come on, Weak2ndAct, review the script!
He did. It's back one page.
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Damn, how'd I manage to skip an entire page? Crazy.
Anyway...
The prospect is the young man's family homestead. The family is fanatically religious and quite dim. They sell the rights to drill to Daniel, and at first, things seem okay. The land is fertile, and success seems eminent. But troubles arise when the family's devotion to Christ gets in the way (which entails beating children). The eldest son (who fanices himself a healer) wants to bless the drill bit. And renovate the church. Daniel scoffs at this. And then disaster strikes. To whom, I will not reveal here, but it propells much of the story.
That's exactly what happens in the novel.
Everything else he described, the character names and their relationships, sounds completely original. So I'd guess this is sort of like what Kubrick did with some of his adaptations - taking inspiration from some obscure novel and using it as a platform for a new story.
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But Weak2ndAct also said it wasn't very good, which is impossible. I mean, PTA wrote it.
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But Weak2ndAct also said it wasn't very good
He said only the ending wasn't very good:
For 130 pages, it's a great script. Compelling and page-turning, there are graphic descriptions of how oil-drilling works and what happens when it goes awry (read: graphic deaths). It reads like any PTA script, save for any curses or debauchery ('cept for one moment, where Daniel's sex life is brought up). Everything is great... until the last 20 pages. We jump 15 years ahead... and it all fallls to shit. The narrative momentum has been derailed. The punch is not there.
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Love the title. So far, it all sounds good to me.
Weak 2nd, come on dude, transcribe the first few pages. Just for kicks.
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The latest update at Greg's site suggests that the new title may be There Was Blood.
on Greg's site, its been fixed/updated to There Will Be Blood, not that its confirmed.
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I read somewhere that someone met Daniel Day's wife backstage somewhere and she told the person that he is doin' the movie with Paul and the title is 'There Was Blood.'
Boat loads of speculation to come, am I right?
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the title means everything, doesn't it.
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the title means everything, doesn't it.
yeah, like, y'know, Knuckle Sandwhich, or Punch-Drunk Knuckle Love...that sorta thing
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AntiDumbTitleQuestion
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Hmmm. Our combined detective work has not yet hit full gear.
I figured that, by now, we'd know which role PSH was playing. :yabbse-tongue:
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Hmmm. Our combined detective work has not yet hit full gear.
I figured that, by now, we'd know which role PSH was playing. :yabbse-tongue:
He's playing the sad-sack, yet good hearted, loser.
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You mean MacBeth (http://www.xixax.com/viewtopic.php?p=185401#185401)?
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I figured that, by now, we'd know which role PSH was playing. :yabbse-tongue:
he's the oil.
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he could be mr. watkins, it'd be kind of like his cold mountain role.
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Don't know if this has been posted yet....but Daniel Day Lewis is on the cover of the newest FADE IN magazine (excellent read by the way)...here is my shitty Transcription of what he says about PTA.
FADE IN: We hear your next project will be with Paul Thomas Anderson. Can you talk about it yet?
Daniel Day-Lewis: You can ask the question. We are still hoping that it's going to [go], and it will probably happen sometime this year.
FI: Was it Anderson's script that hooked you?
DDL: It always begins with a script. If the script doesn't appeal to you, it doesn't matter how much you admire a man through his work. You have to begin with that initial shocking encounter. He's a wonderful writer, quite apart from everything else. Then other things begin to simmer away there, too. Certainly I've been a huge admirer of Paul's work, and I like spending time with him as a man, too.
FI: The purported title of Anderson's script is AND THERE WILL BE BLOOD. Should we expect a bloodbath?
DDL: Not a bloodbath, no. But there's got to be some blood.
And thats all they really say about the film. But I find it to be rewarding nonetheless....so enjoy...
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(http://www.fadeinonline.com/image_bank/Lewis_Cvr_SM.jpg)
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this would've been good news for ptanderson.com. :(
and in the new EW they mention Boogie Nights having some of the best deleted scenes.
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yet another brilliant three name actor to add to the ensemble. gotta love it.
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Just had a thought. There is no clear outline of how to do it because it just came to me. Maybe it's dumb but anyway.
What if when the new site opens or something, we start an email in favor of the new PTA film getting made, we all sign it and make everyone else we know sign it and the people they know and so on and when the list gets huge we send it to the man himself (agent, contact-John Lesher). And they can decide what to do with it, but it might come in handy while getting the finance.
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And they can decide what to do with it, but it might come in handy while getting the finance.
'Cause we'll all pay for it??
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Just had a thought. There is no clear outline of how to do it because it just came to me. Maybe it's dumb but anyway.
What if when the new site opens or something, we start an email in favor of the new PTA film getting made, we all sign it and make everyone else we know sign it and the people they know and so on and when the list gets huge we send it to the man himself (agent, contact-John Lesher). And they can decide what to do with it, but it might come in handy while getting the finance.
I don't think it'll help because any financier would already know that PTA has many dedicated fans who would, of course, want a new PTA movie financed. Unless you came up with 5 million names, each of which promised to buy a ticket or more, then it's useless. It won't tell anybody anything that they don't already know.
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We could right them a song! Like, just for kicks. But that'd be fun!
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Just had a thought. There is no clear outline of how to do it because it just came to me. Maybe it's dumb but anyway.
What if when the new site opens or something, we start an email in favor of the new PTA film getting made, we all sign it and make everyone else we know sign it and the people they know and so on and when the list gets huge we send it to the man himself (agent, contact-John Lesher). And they can decide what to do with it, but it might come in handy while getting the finance.
uh.. let's not and say we did.
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We could right them a song! Like, just for kicks. But that'd be fun!
[classical piano opening]
[spoken/whispering:]
pta, please make my life have meaning...
[drums and bass w/ electric guitar]
[verse one:]
i remember the first time i saw sydney.... ooooh-la-la
i thought it was artistic and trendy .....ooooh-la-la
i cried (boo-hoo) when the studios made that fatal mistake
how dare they change the title to hard eight.... oooh-la-la
[chorus one:]
[piano stops: only guitar and drums w/ low frequency bass]
PTA!!!!! you got me starting smokign cigarettes
PTA!!!!! you made me realize watching hours porn could be helpful
PTA!!!!! you made me want to enslave and fuck chinese boys throwing fireworks as i made my drug deals
PTA!!!! but PTA!!!!! [only slow piano] b..u...t p...t...a, there will be blood ......must.......... be .......maDE!!!!!!!!!!!!!!!!!!
[guitars/drums/bass]
[verse two:]
visions of the magnolia trailor clouded my mind....ooooh-la-la
.........
.............................
.
..
.....................................
.
.............................................................uh, i give up :saywhat:
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a heroic effort!
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I say we do it just for the heck of it...
How many names you think we could get?
Who ever comes the closest gets a date for with Joanne Sellar and Daniel Lupi
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[classical piano opening]
[spoken/whispering:]
pta, please make my life have meaning...
[drums and bass w/ electric guitar]
[verse one:]
i remember the first time i saw sydney.... ooooh-la-la
i thought it was artistic and trendy .....ooooh-la-la
i cried (boo-hoo) when the studios made that fatal mistake
how dare they change the title to hard eight.... oooh-la-la
[chorus one:]
[piano stops: only guitar and drums w/ low frequency bass]
PTA!!!!! you got me starting smokign cigarettes
PTA!!!!! you made me realize watching hours porn could be helpful
PTA!!!!! you made me want to enslave and fuck chinese boys throwing fireworks as i made my drug deals
PTA!!!! but PTA!!!!! [only slow piano] b..u...t p...t...a, there will be blood ......must.......... be .......maDE!!!!!!!!!!!!!!!!!!
[guitars/drums/bass]
[verse two:]
visions of the magnolia trailor clouded my mind....ooooh-la-la
.........
.............................
.
..
.....................................
.
.............................................................uh, i give up :saywhat:
:bravo: that was fucking classic.
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I say we do it just for the heck of it...
knock urself out dude. i'll just be over here doing sumthing.. less pointless.
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I say we do it just for the heck of it...
knock urself out dude. i'll just be over here doing sumthing.. less pointless.
yeah my ideas are always stupid. My whole life is pointless.
I'm sorry I annoy everyone. :cry:
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still doin' it.
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hi to everyone... i'm an italian student, from boulogne, and i'd like to talk with greg mariotti... does anyone knows his e-mail addres?
thanx
bye
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hi to everyone... i'm an italian student, from boulogne, and i'd like to talk with greg mariotti... does anyone knows his e-mail addres?
thanx
bye
it's at the ptanderson site. i assume that's how u found this place..
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thank u!
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Any of you Xixers "in the know" know where PTA is at with this film? Did he get it funded?
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I'm sure it would have been posted right away.
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Any of you Xixers "in the know" know where PTA is at with this film? Did he get it funded?
there isn't going to be anything massive announced on this project for a while...
there are things to be dealt with and it is moving slowly
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If only we'd signed that list! :(
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This month's issue of FAMOUS (an entertainment magazine distributed in Canadian theaters) has an interview with Vancouver actor David Richmond-Peck, who has a small part as an art gallery patron in Fantastic Four. In the article, he mentions he has already auditioned for PT Anderson's next movie, which he says is based on a book written in the 20's. He must be referring to OIL! He scavenged bookstores in Vancouver after reading for the part, and found a copy at an old used bookstore. Not much information beyond that, but the wheels are turning....
Sorry, didn't keep a copy of the magazine.
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this three name thing is getting out of control
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you can say that again, ultrahip lobster supper.
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you can say that again, ultrahip lobster supper.
SNAP!
Anyway, everyone knows that people with three names are assassins. Lee Harvey Oswald, James Earl Ray, John Wilkes Booth, and so forth.
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mark david chapman
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oh. yeah. it was uh, meant to be ironic. i swear.
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i have a feeling this movie won't get made. at least not for another 5 years.
It does sound good though.
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...interview with Vancouver actor David Richmond Peck... In the article, he mentions he has already auditioned for PT Anderson's next movie.
If they've been holding auditions, that's a good sign. Unless they're tremendously naively optimistic and enjoy keeping actors in limbo for years at a time while they find investors. Which is possible.
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Dude, I'm not gonna blurt that out on the 'net and bite the hand that feeds me.
do you generally get scripts early? i'm not asking your source i just find it interesting that you, and only you (that we know of), have the script. I do believe you, though. But I have a feeling it was an early draft and and uneasiness that you have about the script will be erased once we see the movie.
I really hope this gets made. I don't want PTA to wait years between new movies.
And for some reason, I think this movie is really gonna be Altman-esque, even more so than his other movies.
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you can say that again, ultrahip lobster supper.
I bet that is just fun to say, ain't it?
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Are you guys down to only post here when there's new info? I hate checking in when there's no actual updates... of course I'm pretty much doing that right now, aren't I?
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An idea: someone could update the title of the thread with a headline a la Criterion thread if there's any new news.
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An idea: someone could update the title of the thread with a headline a la Criterion thread if there's any new news.
Good call
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i do agree that we should no longer post unless there is no new information. However, this was posted on the new pta site, and i wonder if it is Oil related.
we will have a very juicy little present for all of you in the very near future, stay tuned...
maybe a first draft of the script?
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maybe a first draft of the script?
i sumhow think that would not be it. also, u'll just hav to wait like they told u to.
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In the back of my mind I hope Mumbles O'Malley makes an appearance. Just to complete the set of PBH monikers.
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Dammit, it's not working.
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Called "There Will Be Blood" now on IMDb.
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It's also listed as a 2006 release. Hah! Knowing PTA, he'll have to start shooting this very early next year if he wants an Oscar buzzing release around October - December of '06.
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:yabbse-angry: :oops: :cry: :yabbse-lipsrsealed:
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the imdb lies all the time
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the imdb lies all the time
Right you are. A buddy of mine, as a test, submitted to the "trivia" section of the movie "Zoolander" the following factoid: "Ben Stiller took inspiration for the script from his pre-comedy career as a male runway model." Three weeks later, it was on the site for all the world to see.
Two weeks later it was gone again. So you see, we like to think of the IMDB as this infallible arbiter of film knowledge, but in reality it is little more than an expansive but poorly fact-checked cinematic Wikipedia.
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Whoooooo cares.
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Whoooooo cares.
:waving: Me. I do.
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Yeah, but the movies title is a little more important than a small piece of trivia.
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Yeah, but the movies title is a little more important than a small piece of trivia.
That just goes to show you how wildly unregulated IMDB really is. They can't be taken as gospel, especially for movies early in development.
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it was announced on page 8, four months ago.. http://xixax.com/viewtopic.php?p=182140#182140
i don't get what the mystery is.
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Anyway, i'm new.
yeah, u hav an excuse.
everyone else is acting like it's a goddamn revelation, it's even referred to in the PTA forum subtitle!
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Ahh yeah. There Maya Rudolph be Blood if this new film doesn't happen.
it's not so obvious.
and ur not expected to notice that since u didn't know the name. also, this isn't a chat room, so we can stop this conversation now.
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moan...
and remember.....
the imdb lies all the time
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So I heard PTA's new film's title was changed. Details?!
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Ooooh....You authority figure, you.
dude, wtf? ur making this about u when the whole point was u HAV an excuse and everyone else doesn't. sheesh. u were sposed to be one of the good newbs.
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Good, newb, now no more posting here until there is some real new information. I understand the desperation but c'mon now.
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Ill start a resistance against the more posters!! fuck you dykes!!
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Dammit. I didn't read the post way back when when Weak2ndAct told us about the title (but I have a great excuse... I hadn't returned yet).
Fuck. Now I'm really pissed, because while IMDB has no credibility, Weak2nd does. Dammit.
I just don't want it to sound like a Chuck Norris movie, is all. "Oil!" is a great title... almost "Snakes on a Plane" great. Dammit.
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now no more posting here until there is some real new information.
Sorry.
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Hell, have some flowers on my behalf...
(http://www.1stinflowers.com/pics/ftd/ftdc2-3434.jpg)
Check out Garam. Romancing the Pubrick with a fine Mother's day arrangement.
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"There Will Be Blood"
Interesting title change.
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hey, can i up my post count here too?
paul thomas anderson.
oil.
blood.
sloppy vagina whore mouth.
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Fine, kids. Here's some pleasurable info for ya:
Paul Thomas Anderson anuncia novo projeto
Por Marcelo Hessel
(http://www.omelete.com.br/imagens/games/news/livros/oil.jpg)
Paul Thomas Anderson andava meio sumido depois da temporada de divulgação de Embriagado de amor (Punch-drunk love, 2002). Mais isso mudou ontem quando o Ain't it cool news reverberou a notícia que saiu no site PTAnderson.com que garante que o diretor de Magnólia já tem outro filme a caminho. Trata-se de Oil!, adaptação do romance homônimo escrito em 1927 por Upton Sinclair (1878–1968) - estadunidense vencedor do Pulitzer, socialista atuante e crítico do capitalismo que denunciou em reconhecidos livros-reportagens.
Oil! fala justamente de intrigas na indústria petrolífera e de escândalos políticos que partem da Califórnia e sujam paletós em esfera nacional. Qualquer semelhança com o mundo real não é coincidência - uma novidade no universo lírico e não raro surreal do cineasta.
Seria, caso a notícia seja confirmada, a primeira vez que Anderson trabalharia sobre um texto que não é de sua autoria. E seria promissor.
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oh i get it, pleasurable is portuguese for old.
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Which is precisely my point. The pages of this thread are now repeating themselves with old news (which is causing me to feel like a cranky old fuck). Thought this ancient tid-bit would be pleasurable for the kids.
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Thought this ancient tid-bit would be pleasurable for the kids.
the kids should bother reading the rest of the threads they post in, or else shut their newborn traps.
that would be pleasurable for all.
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There will be a movie...Don't ask for details
right now, but needless to say. this is a promise.
it's very exciting and nerve-racking. it's been
so long and i feel a bit rusty - but well rested.
I imagine i'll come out of the starting block
with way too much energy before I settle back
into it. the comfort zone needs to be dismantled.
Do you think this means a late 2006 release, or just that he will be working on it through 2006?
A small tidbit of news, but still...
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I'm guessing it'll be more like shooting in spring or summer and then released in mid 2007.
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I'm guessing he shoots it all in one week, edits for a year, walks away from it for another, reshoots for a year and three quarters and re-cuts for another half. We're looking at a 2010 release I believe... but then again, I'm just speculating which is not pointless whatsoever.
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From THE HOLLYWOOD REPORTER
Anderson puts 'Blood' on track
By Anne Thompson
Writer-director Paul Thomas Anderson is in advanced talks to produce and direct "There Will Be Blood," starring Daniel Day-Lewis as a turn-of-the-century Texas oil prospector in the early days of the oil business. The sprawling period piece, which Anderson has spent several years writing, is loosely adapted from Upton Sinclair's 1927 novel "Oil!"
Budgeted at more than $25 million, "Blood" will be jointly financed and distributed by Paramount's specialty films division and Miramax Films, according to Paramount specialty division president John Lesher. "It's an ambitious film and a compelling, relevant story about family, greed, religion and oil," Lesher said. "Paul is an incredible talent, exactly the kind of filmmaker the new division wants to be in business with."
Former Paramount power producer Scott Rudin, who has shifted his base of operations to Disney, where he struck a new deal last year, was instrumental in bringing in Disney subsidiary Miramax, led by president Daniel Battsek, as a 50/50 partner on "Blood." Paramount will handle domestic distribution, and Miramax will release the film in foreign territories, which could yield the lion's share of the final gross.
Anderson, whose most recent film was 2002's Adam Sandler vehicle "Punch-Drunk Love," will produce with his partner Joanne Sellar. Rudin and author Eric Schlosser ("Fast Food Nation") will executive produce. Casting is under way for a shoot that is set to begin in May, Lesher said. Locations include Martha, Texas, and Albuquerque, N.M.
Lesher, a former Endeavor agent, is wasting no time lining up projects, many of them involving such former A-list director clients as Anderson. Going forward, Rudin and Lesher will have "joint custody" on some movies on an "ad hoc basis," Rudin said.
Lesher should announce several more projects soon, as he and his team head this week into the acquisitions fray at the Sundance Film Festival. Lesher is also in the process of closing a deal for his new marketing chief.
Anderson is represented by Endeavor. Day-Lewis is repped by Gene Parseghian in New York and Victoria Belfrage in the U.K.; "Blood" will be his first film since last year's "The Ballad of Jack & Rose."
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From VARIETY.COM
'Blood' lust for Par and Miramax
Rudin to produce period drama for studios
Scott Rudin
Scott Rudin, who is transitioning from Paramount to Disney, is getting back into business with his old home.
Rudin will exec produce "There Will Be Blood," a period drama loosely based on the 1927 Upton Sinclair novel "Oil!," for ParPar Classics and the new Miramax.
Daniel Day-Lewis and director Paul Thomas Anderson will team this spring on the pic.
It is the first major project for John Lesher since he left Endeavor to take the top post at the classics division, which will soon be renamed.
Rudin is transitioning from Paramount to Disney, and one of his priorities will be to make prestige projects for Miramax.
The 50/50 partnership formula will be used on several pictures Rudin will put together this year. Some of those titles will be distributed domestically by Miramax, with Paramount taking foreign.
Lesher's unit will handle domestic distribution rights, while Daniel Battsek's Miramax will distribute internationally.
Anderson wrote the script and used as his basis Sinclair's expose of the seamy side of the drilling business in Southern California when it became the equivalent of the gold rush.
Day-Lewis will play a prospector who buys the oil rights to a family's ranch, and then hits a major pocket of crude. The story then turns into a tale of greed and faith, as the prospector realizes the American dream and is destroyed by it.
Pic will be produced by Anderson and Joanne Sellar, with Rudin exec producing with Eric Schlosser, the author of "Fast Food Nation." Shooting will begin mid-May, in Texas and New Mexico.
Lesher was Anderson's longtime agent, and knew the project well because he tried to set it up independently last year. Day-Lewis was already doing his research on his character and the oil business, but the project's summer 2005 shoot stalled because of problems raising the budget Anderson felt he needed. The agency and Day-Lewis' reps, Gene Parseghian and Victoria Belfrage kept pushing and Day-Lewis didn't take another acting job.
The wait was worth it, as the package allows them to make a large-canvas picture for a budget just north of $20 million.
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wow, it's real.
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Way to go aintitcool. They really hadn't heard a thing about this: http://www.aintitcool.com/display.cgi?id=22213
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its finally happening!!
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A portion of a script review, originally posted at message board xixax.com says this of Anderson's BLOOD script: For 130 pages, it's a great script. Compelling and page-turning, there are graphic descriptions of how oil-drilling works and what happens when it goes awry (read: graphic deaths). It reads like any PTA script, save for any curses or debauchery ('cept for one moment, where Daniel's sex life is brought up). Everything is great... until the last 20 pages. We jump 15 years ahead... and it all fallls to ****. The narrative momentum has been derailed. The punch is not there. And with some bad casting, some scenes at end could turn out down right laughable. Even though I didn't love MAGNOLIA, I respect the film greatly and can't wait to see what Anderson will do with this flick (and one of the best actors around in Day-Lewis).
http://www.joblo.com/index.php?id=10000
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:shock: They're watching us.
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Even though I didn't love MAGNOLIA, I respect the film greatly and can't wait to see what Anderson will do with this flick (and one of the best actors around in Day-Lewis).
Gah, I didn't fucking write that! Misquote!
haha yeah it was written badly on the site.
isn't it weird, first deathnotronic's teacher is giving a class based on Weak2ndAct's boondock saints review, and now W2A is getting quoted at joblo. someone's wearin a wire..
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That's funny... and thank god - I got the email for the Oil thread and thought I would find someone posting "any new news about this?" or a speculation or something but instead I got a spectacular bit of info on it. Does MacGuffs need to be redirected two posts up to the Hollywood Reporter article? :shock:
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Reports are coming in across the wire.
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Casting is under way for a shoot that is set to begin in May
So, think it'll be out by December?
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We'll see ono, we'll see.
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I'm guessing it'll be more like shooting in spring or summer and then released in mid 2007.
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I still see Daniel-Day Lewis (or let's just say DDL) as Bill the Butcher in this flick. And if he is? Good. If he isn't? Good. I just dig him.
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I'm guessing he shoots it all in one week, edits for a year, walks away from it for another, reshoots for a year and three quarters and re-cuts for another half. We're looking at a 2010 release I believe... but then again, I'm just speculating which is not pointless whatsoever.
Why? He does take a long time writing and getting shit together, but his film projects have all been very professionally done and I've never seen evidence of his flaking out once shooting begins.
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Yo, Johnny Come Lately, I was mimicking all the pointless speculation that came before.
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I just picked up a copy of the book, but I've no idea when I'll find the time to read it. MAYBE before the film is shot/edited/released. :yabbse-smiley: Has anyone here read it? What's your take?
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I've not read the book but I did read the script so I'm not sure if its a loosely based adaptation or a more direct approach to the material..
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How did you get a hold of the script?
What did you think?
Can we get some?
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I'm a little more than halfway through the book and so far I think it would make the outline for an awesome mini-series (if miniseries were ever good), but I doubt the film could be much more than loosely based on it.
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What did you think?
I appreciated that it was a father-son story first. Harrowing things happen between them, and for a good portion of the time the son is actually out of the story (the reason why is very depressing). This film, if shot by the script, will be much less politically charged than most people might expect. I think more of the focus, surprisingly enough, is on religion. Specifically, religious thinking that gets people into trouble, a la CHILDREN OF THE CORN (horror elements withstanding obviously though there are very 'horrific' things in here just the same). I remember reading someone's beef about the ending because it jumps forward in time but I felt it was earned. Again, Anderson's films work because the drama and the circumstances are earned through the storytelling.
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Kinda vague on the thoughts.
Just out of curiosity, were the CAMERA actions inserted into the draft you read?
How many pages?
And yes, HOW DID YOU GET A HOLD OF THE SCRIPT? Give a loosely based answer at least, man.
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Yes, camera actions were abundant. Sometimes scenes were left vague with (see dir. notes) inserted inside, and other times it would read, "this scene is going to be...." so it's not a final draft by any stretch of the imagination. I dont remember how many pgs, it was quite a lot for a feature film though - about two and a half, maybe three hours long if you want to consider one page equal to a minute of film. And I got a hold of the script at a production company.
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At a production company... just like that. Used to be so protective of leakage.
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At a production company... just like that. Used to be so protective of leakage.
But if it was "Snakes on a Plane" it would have been locked in a metal briefcase and handcuffed to an intern with a cyanide capsule in his tooth.
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points for that obscure but apropos reference.
“..I was once a man!” why do talking snakes always say that shit?
ps.
..not posting again till i get a good av.
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I just picked up a copy of the book, but I've no idea when I'll find the time to read it. MAYBE before the film is shot/edited/released. :yabbse-smiley: Has anyone here read it? What's your take?
I read the book last year (my short review here/ (http://www.road-dog-productions.com/cgi-bin/2005/05/i_love_the_work.html). It's a terrific read, so I'd recommend it even if (or, rather, especially if) the movie is only going to be loosely based on it. From Sal's description, it seems the script, in focusing on the father, takes the opposite approach of the book, which is all about the son.
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At a production company... just like that. Used to be so protective of leakage.
But if it was "Snakes on a Plane" it would have been locked in a metal briefcase and handcuffed to an intern with a cyanide capsule in his tooth.
Actually I got that one too, but it's called Pacific Air 121.
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you guys think there's a chance we'll get our hands on a script any time soon? If so, will you read it?
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i don't understand why anyone would want to read the script before seeing the movie.
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i don't understand why anyone would want to read the script before seeing the movie.
It would be cool to read it and imagine what PTA was gonna do with the scenes. But yeah, I probably wouldn't read it.
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i don't understand why anyone would want to read the script before seeing the movie.
its kinda like an imaginary cinematic iq test
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I would first read the opening then flip to somewhere in the middle and read a scene. It would be fun to recognize that later on. After that, it would be quite the challenge to keep away from it, no doubt.
Sal, send me a copy, I'm up for the test.
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id love to read it. cmmon we´re film geeks. sal from the read and it being a period film does it seem like its gonna be expensive? The word is it wil be over 25 mil.
reading it would be like seeing the girl you are in love with naked, before you even date her.
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I wouldn't mind browsing the script myself, I probably won't read it entirely though... or would I? It's hard to say :p
(btw, I'm new here and this is my first post, nice to see other fans around! I'm sure it'll be a pleasant experience!)
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(btw, I'm new here and this is my first post, nice to see other fans around! I'm sure it'll be a pleasant experience!)
Welcome. Share yourself here:
http://xixax.com/index.php?topic=2.0
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http://movies.hsx.com/servlet/SecurityDetail?symbol=TWBLD
trading begins on Friday.
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reading it would be like seeing the girl you are in love with naked, before you even date her.
yeah but doesn't that spoil the surprise when you finally do get to sleep with her? kind of like a pleasure-delayer thing, where you anticipate what she looks like naked and you build excitement and on opening night you finally get her back to your place and...
oh fuck it. read the goddamn thing. what do i care.
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i am still conflicted about seeing infernal affairs before i see the departed. do you feel it's the same principle?
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i am still conflicted about seeing infernal affairs before i see the departed. do you feel it's the same principle?
I don't think it is (I know you weren't asking me, but I wanted to chime in anyway). Infernal Affiairs is its own piece of work, never designed to be adapted. Additionally, Infernal Affairs is probably about as worth watching as The Departed will be, so if you saw The Departed first, it's still seeing one movie before the other.
Ideally, The Departed will not be so similar to Infernal Affairs that it doesn't have its own thing that you can focus on. Secondly, I feel that the plot doesn't matter that much; it's more about the characters and the interesting setup.
Reading a screenplay first, however, can make for a distracting experience when you finally see the film. You'll inevitably be too interested in how the movie was put together rather than being invested in any of it. It's very interesting to read screenplays for movies you've already seen, though, and then rewatch the movie, at which point you can afford to let your mind focus on the nuts and bolts of how it went from the page to the screen, executionally (if that's a word).
The main difference, to sum up, is that a screenplay is designed to be seen as a movie more than read. However, a movie (Infernal Affairs) was designed to be seen, and the re-make should have the balls to be its own movie enough that it can complement, instead of detracting from, the first movie. You couldn't say the same thing if a movie didn't have the balls to be different from its own screenplay, as that was the point of the screenplay in the first place.
I hope that made some sense.
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Here is a Glowing review of the script for There Will Be Blood posted today at Latino Review. Sounds like he's a bit of a biased fanboy, but his excitement is good news to me, nonetheless.
http://latinoreview.com/scriptreview.php?id=20
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Here is a Glowing review of the script for There Will Be Blood posted today at Latino Review. Sounds like he's a bit of a biased fanboy, but his excitement is good news to me, nonetheless.
http://latinoreview.com/scriptreview.php?id=20
he sounds like an idiot to me.. this makes no sense:
Further unsolicited advice: novelize this screenplay. To make this film right, you're going to need about 25 million dollars, at least. Build a fan base, win some literary awards - get the funding you need in place before you're backed into a corner and squeezed. With the film in book form, it will be taken seriously.
he pulled a brazoliange (http://xixax.com/index.php?topic=7760.msg204614#msg204614). utterly useless.
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Here is a Glowing review of the script for There Will Be Blood posted today at Latino Review. Sounds like he's a bit of a biased fanboy, but his excitement is good news to me, nonetheless.
http://latinoreview.com/scriptreview.php?id=20
he sounds like an idiot to me.. this makes no sense:
Further unsolicited advice: novelize this screenplay. To make this film right, you're going to need about 25 million dollars, at least. Build a fan base, win some literary awards - get the funding you need in place before you're backed into a corner and squeezed. With the film in book form, it will be taken seriously.
he pulled a brazoliange (http://xixax.com/index.php?topic=7760.msg204614#msg204614). utterly useless.
Wow. That guy... that fucking guy...
Latinos, man.
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Further unsolicited advice: novelize this screenplay. To make this film right, you're going to need about 25 million dollars, at least. Build a fan base, win some literary awards - get the funding you need in place before you're backed into a corner and squeezed. With the film in book form, it will be taken seriously.
TOOOOTALLY agree.
Polanski should've taken his advice with that "Twist" movie. It would've been better as a book.
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Further unsolicited advice: novelize this screenplay. To make this film right, you're going to need about 25 million dollars, at least. Build a fan base, win some literary awards - get the funding you need in place before you're backed into a corner and squeezed. With the film in book form, it will be taken seriously.
TOOOOTALLY agree.
Polanski should've taken his advice with that "Twist" movie. It would've been better as a book.
You're making a joke, right? I think so, but sometimes it's hard to tell in writing.
I think the Latino just doesn't know that the script is already an adaptation of a book. Novelizing the script is a really dumb idea.
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I'm fairly sure that Polanski movie "Oliver Twist" is already a book too. I can't be too sure, sarcasm doesn't always come across "in writing."
Its this type of thing that brings huge disappointment when theres a new post in this thread.
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Where's the "blows his own brains out" smiley?
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Where's the "blows his own brains out" smiley?
(http://smilies.xibase.com/suicide.gif)
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i weep for humanity.
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I'm fairly sure that Polanski movie "Oliver Twist" is already a book too. I can't be too sure, sarcasm doesn't always come across "in writing."
Its this type of thing that brings huge disappointment when theres a new post in this thread.
You're absolutely right, I can't tell if you really think I'm this stupid or not. But to clear things up a bit:
And I've since moved on:
(http://a1204.g.akamai.net/7/1204/1401/04080612011/images.barnesandnoble.com/images/8050000/8056081.jpg)
:roll:
Given your argument on the clarity of sarcasm (or lack of), and given the context of the complaints, and the fact that just about EVERYONE has heard of Dickens and Oliver Twist, but let's not forget:I thought this was really well-done, if a bit long. Polanski did a great job establishing the time period. It's a pretty predictable Hollywood story though.
sarcasm should've been fairly clear.
Come on, guys.... Come on.
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Yea...i was being sarcastic. I would never think you were that dumb, nor am i that dumb. In fact, if you scroll down from that brazoliange quote you would see that i reply to that in a similar way. Apparently sarcasm really is confusing "in writing." I'll go back to my hole now.
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Yea...i was being sarcastic. I would never think you were that dumb, nor am i that dumb. In fact, if you scroll down from that brazoliange quote you would see that i reply to that in a similar way. Apparently sarcasm really is confusing "in writing." I'll go back to my hole now.
Well... *ahem*
:doh:
I think we have a new Marquee message:
"Xixax.com
We don't get sarcasm."
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http://movies.hsx.com/servlet/SecurityDetail?symbol=TWBLD
trading begins on Friday.
I'm semi-addicted to this fucking place now. I check it with my e-mail, but spend longer reading the stocks.
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apologies for getting the thread back on topic
but there is some potentially interesting film information living on our site
www.cigarettesandredvines.com
kay?
cjw
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Hey folks, Harry here!
hahaha priceless, thanks for the update.
I'm excited about the story description of the flim, it's in the potential spoiler section of the update.
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one day I hope someone can realize that I did know it was a book and was merely using Hollywood story in today's context
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(use)less, thanks for the update.
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paul passed me this link
http://www.littlebostonnews.com/
production diary/pictures in the style of dead air space
rejoice
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paul passed me this link
http://www.littlebostonnews.com/
production diary/pictures in the style of dead air space
rejoice
Hooray! That is very cool.
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That's awesome that Jack Fisk is designing it.
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how amazingly considerate of paul. AWESOME.
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how amazingly considerate of paul. AWESOME.
totally.
if the rate of awesome updates keeps up, we may well reach the point where it's not ridiculous to use the title "sir" all the time, they've earned it, thanks sir fins! finally a non-ironic use! huzzah!
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oh yeah, that was the other thing i was going to say. lets hope the updates stay regular after filming starts...
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You know how you wake up, pour you r coffee and then search for the smallest increment of inspiration to get your own ideas rolling... done and done this morning.
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Is that in Texas? Marfa?
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Scene 127A sounds kinda Days of Heaven-ish.
Nice cows, too. I fully approve of the cow selection.
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http://www.aintitcool.com/display.cgi?id=23515
QUINT: Are you going to have a part in THERE WILL BE BLOOD?
JOHN C. REILLY: I don't know. We're still talking about it. I don't know. We'll see. It might be all faces you haven't seen before in a Paul Anderson movie, actually, starting with Daniel (Day Lewis).
QUINT: I don't know how much I'd like that... I'll feel... I don't know, alone, without any of the regulars coming in. It's like watching a Coen Bros film without someone like Buscemi popping up.
JOHN C. REILLY: Alone? (laughs) You'll be in good hands with Daniel Day Lewis, trust me.
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i live in texas.
realistically - is there any way i could be an extra?
what do you even do?
i would just be content to watch a little bit of filming really. i've never been on a film set.
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i live in texas.
realistically - is there any way i could be an extra?
what do you even do?
i would just be content to watch a little bit of filming really. i've never been on a film set.
Call the production company to find out... paramount vantage - 323-956-2000; scott rudin prods - 323-956-4600
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http://www.sanantoniocvb.com/film/crewcalls.asp
my friend came across this. i live in east texas and this is far west texas (i think it may be over 400 miles away), but maybe i can get someone to go with me. i've already sent an e-mail.
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That sleeping goat on June 16 is adorable!
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i e-mailed the address i found online. they replied the next day or so and said they weren't working on the film because of health issues or something. then they gave me another address and two attempts to it have yet to be returned.
is anyone else here trying to be involved with the movie in any way?
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A post from some guy at imdb, could be real.
I have been playing the part of an Oil worker for the last 5 days of filming. It is 105 degrees with no shade. We stand in the direct sun for sometime 4 hours at a time between breaks. We arrive at the location in Winter, so we are wearing long sleeved shirts, fully buttoned, with wool coats, also fully buttoned, hats and gloves. If that weren,t enough, the makeup consists of oil sprayed on us and lots of dirt dusted on us. There are wind machines to kick up as much dust as possible, and believe me when I say there is a lot of it. Up to five people a day literally pass out. There are five weeks left to go. I'm determined to stick it out to the end even though we are putting in 10 to 13 hour days. On a good note, every one of the cast and crew are totally perfessional and great to work with. I have never heard one complaint from them, and they are actually performing all the physical work. We just stand around between shots. All in all it is a wonderfull experience. I'm not sure I'd do it again, but quitting is not an option. I just wanted to let you all know what it is like for the drilling portion of the movie.
I wonder if PTA is shooting that (if true) or if it's a second unit.
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According to the new issue of Interview Magazine (with Kate Bosworth on the cover), Paul Dano (L.I.E., the upcoming Little Miss Sunshine) will have a role in "Boogie Nights director Paul Thomas Anderson's next movie."
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Dano draws 'Blood' role for Anderson
Source: Hollywood Reporter
NEW YORK -- Paul Dano will star opposite Daniel Day-Lewis in Paul Thomas Anderson's drama "There Will Be Blood."
In the turn-of-the-century period piece, which Anderson is shrouding in secrecy, the "Little Miss Sunshine" actor will play a gifted, charismatic young preacher who captivates churchgoers. Day-Lewis portrays a tycoon who strikes it rich after gaining oil rights to a family's ranch, turning the small town where Dano's character preaches into a boomtown. The film is loosely based on Upton Sinclair's 1927 novel "Oil!"
It's been a busy time for Dano. His Sundance Film Festival hit "Sunshine" raked in an estimated $51,000 per screen in limited release during the weekend. In addition to "Blood," his upcoming projects include Spike Jonze's adaptation of Maurice Sendak's classic children's novel "Where the Wild Things Are" for Warner Bros. Pictures. For the film, Dano will be shot on digital video to portray a monster, with his movements and voice used as the model for a live-action puppet.
Dano also has completed Adam Bhala Lough's "Weapons," an indie drama about a series of teen killings in a suburban town in which he plays a disturbed social outcast who's starved for attention.
"Blood" is filming in Texas and Los Angeles. The project, executive produced by Scott Rudin, is being made through an equal partnership with Paramount Vantage and Miramax Films.
Dano is repped by the Gersh Agency and Industry Entertainment.
(http://us.movies1.yimg.com/movies.yahoo.com/images/hv/photo/movie_pix/twentieth_century_fox/the_girl_next_door/paul_franklin_dano/girlpre2.jpg)
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Mild to Medium Spoilers
The film is loosely based on Upton Sinclair's 1927 novel "Oil!"
Very loosely, btw... I don't know how many people here have read both the book and the screenplay, but it's like he adapted the first few chapters of the book then decided he wanted to go in a completely different direction from that point.
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damn, wish i had an oil leak. how are you guys getting your hands greasy?
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Seriously, where the hell do you get the script?
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(http://img.timeinc.net/people/i/2006/startracks/060814/daniel_day_lewis.jpg)
I would have never known it was him if someone didn't tell me
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I'm not so sure it is him.
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'taint
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Yeah, that doesn't look like Paul Dano at all.
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according to this:
http://people.aol.com/people/gallery/0,26335,1221772_6,00.html
that is daniel day-lewis
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yes, he looks INSANE. i would've never known it was him either. (its crazy it took so long for the Paul Dano news to break).
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As pointed out on c&v's the first leaked pic of DDL is very similar to the first pic of Sandler as Barry.
(http://www.cigarettesandredvines.com/images/pdl/sandler.jpg)
(http://img.timeinc.net/people/i/2006/startracks/060814/daniel_day_lewis.jpg)
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That's Freaky how similar they are.
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It's also freaky how much Day-Lewis looks like Hitler.
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It's also freaky how much Day-Lewis looks like Hitler.
You don't seem to know quite what Hitler looked like...
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a 'stached Hitman, i'd say.
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It's also freaky how much Day-Lewis looks like Hitler.
You don't seem to know quite what Hitler looked like...
For reference:
(http://laughingsquid.com/wp-content/uploads/kitler.jpg)
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that is a cat
edit: hitler was not a cat
edit edit: also that cat appears to have a "part" in the middle and we all know that hitler didn't part his hair in this manner
edit edit edit: here is photographic proof that hitler was not a cat:
(http://www.bbc.co.uk/history/historic_figures/images/hitler_adolf.jpg)
notice that he is a human being with human features and very much not a cat
edit edit edit edit: a piece of hitler trivia: he was a nazi (also he painted pictures and wasn't nearly as bad as people make it seem)
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Hitler was also a vegetarian, which he abruptly became following the suicide of his neice (whom he was rumored to have fancied). Albert Einstein was also a vegetarian, and a Jew. Hitler hated Jews (actually, he wanted to have them all killed or at least out of areas governed by the Third Riech, if you can believe that--some don't). But if Hitler and Einstein had dinner, they would for sure not have meat.
Lots of prominent Americans (including Lindbergh) around the time that There Will Be Blood takes place in thought that Hitler was a great and visionary leader for having pulled Germany out from its economic depression. Perhaps the Day-Lewis character would have felt the same way, and even modelled his own facial hair after "der Führer." Of course, Hitler's American supporters did not yet realize that Hitler wanted to kill all of the Jews.
Hitler himself was Austrian, not German, and his "Aryan" heritage was questionable.
THEREFORE... um... yes.
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also he had a goofy mustache.
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yall are nerds
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yall are nerds
well i resent that
(http://www.opdebeeck.com/afbeeldingen/karikatuurschetsen/large/hitler.jpg)
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All this Hitler talk has made you all blind to the obvious:
(http://i35.photobucket.com/albums/d179/polkablues/kojak.jpg)
"Who loves ya, baby?"
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does anyone know for certain that the character has a shaved head or is it possible he's wearing a wig?
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New on-location photos are up:
http://www.littlebostonnews.com/index2.php
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its about time, that 4th pic has some interesting shots, can't wait to see how they turn out.
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I had a dream that this movie was ultimately released under a different title and direct-to-video. Now that's a nerdy dream.
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I had a dream that this movie was ultimately released under a different title...
Mein Kampf?
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another pic of ddl: http://www.joblo.com/newsimages1/daylewis1.jpg
That's our protaganist?
Ouch.
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That's our protaganist?
Ouch.
That's your reaction?
Ouch.
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Well, a more tongue in cheek reaction than anything. Not knowing a lot about the production, it's difficult to imagine the movie with a main character who looks like that. I wonder how far DDL will take the Texas accent?
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I had a dream that this movie was ultimately released under a different title...
Mein Kampf?
Is that a noodle dish or something? Why would it be named that?
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I had a dream that this movie was ultimately released under a different title...
Mein Kampf?
Is that a noodle dish or something? Why would it be named that?
To review:
(http://img.timeinc.net/people/i/2006/startracks/060814/daniel_day_lewis.jpg)
(http://laughingsquid.com/wp-content/uploads/kitler.jpg)
(http://ec1.images-amazon.com/images/P/3762804095.01._AA240_SCLZZZZZZZ_.jpg)
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Who's Udoli Sitlers Diein Rampi ?
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I had a dream that this movie was ultimately released under a different title...
Mein Kampf?
Is that a noodle dish or something? Why would it be named that?
To review:
(http://img.timeinc.net/people/i/2006/startracks/060814/daniel_day_lewis.jpg)
(http://laughingsquid.com/wp-content/uploads/kitler.jpg)
(http://ec1.images-amazon.com/images/P/3762804095.01._AA240_SCLZZZZZZZ_.jpg)
This makes no sense. First off, okay, I recognize that the cat is supposed to be a Hitler look-a-like or something (okay, only because the picture's link is called "kitler.jpg"--see? I can figure things out). But I don't see what that has to do with the bald guy at the top, especially since the new picture linked at the top of this page shows that his mustache is actually not at all like the cat's...
And I definitely don't see what any of this has to do with what some guy named Werner Maser wrote in what looks like the Medieval Ages.
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Daniel Day Lewis is a medieval Kitler noodle dish.
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I thought "Mein Kampf" was really well-done, if a bit long. Hitler did a great job establishing the time period. It's a pretty predictable Hollywood story though.
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Here is the pic since the link didn't work:
(http://img162.imageshack.us/img162/9972/daylewis1tw4.jpg)
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For all you people who got a kick out of the kitler, I love that this site exists:
http://www.catsthatlooklikehitler.com/
Jesus, look how starved we are for PTA conversation even with a new film being shot.
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if you're wondering why ddl looks so...weird in those pictures, this might clear things up (http://www.cigarettesandredvines.com/main.php?id=N01) for you
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goddamn, im speechless.
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it was worth being misinformed for the kitlers.
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Here's the REAL picture!
(http://i3.photobucket.com/albums/y74/regularkarate/DannyDAYcopy.jpg)
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Revelation number 2 is that there is no Vincent Froio, and it's all just another layer of Daniel Day Lewis' Method.
Also, because history should fun as well as informative, here's my Kitler Wall of Fame.
Best Kitler:
(http://i35.photobucket.com/albums/d179/polkablues/kitler8.jpg)
Most Adorable Kitler:
(http://i35.photobucket.com/albums/d179/polkablues/kitler158.jpg)
Best "Kitler in the Bunker" Impression:
(http://i35.photobucket.com/albums/d179/polkablues/kitler24.jpg)
Kitler Most Likely To Be Mistaken For Chupacabra:
(http://i35.photobucket.com/albums/d179/polkablues/kitler189.jpg)
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Here's the REAL picture!
It's freaky how much he looks like Trotsky.
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if you're wondering why ddl looks so...weird in those pictures, this might clear things up (http://www.cigarettesandredvines.com/main.php?id=N01) for you
And Mac didn't post it first :shock:
Vincent Froio
(http://img239.imageshack.us/img239/6421/froioek0.jpg)
Trotsky
(http://img216.imageshack.us/img216/276/trotskyqo9.jpg)
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(http://i3.photobucket.com/albums/y74/regularkarate/DannyDAYSKYcopy.jpg)
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And Mac didn't post it first :shock:
The dude emailed c&rv; not me.
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This is all very entertaining, but will someone please tell me WHERE THE FUCK RINGO IS?
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So, is Vincent Froio part of the cast? Or is this a photo from a different movie set?
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vincent said he has a small role in the film but was honoured that everyone (sort of) thought he was ddl.
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Looks like this will be the first PTA film where he hasn't cast actors he had previously worked with.
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EDIT: I'll leave the snide comments to P and Hedwig (mine was lacking in witticism anyway)
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Looks like this will be the first PTA film where he hasn't cast actors he had previously worked with.
Well, Paul F Tompkins is in it... evidently, he's been making a joke about how he could ruin it by muttering anachronistic words under his breath while it was shooting.
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more from the NY Times article...
Mr. Anderson also cast local non-actors as principal characters. The primary relationship in “There Will Be Blood” is between Daniel Day-Lewis’s character, Daniel Plainview, and his young son, H. W. After casting calls in both New York and Los Angeles, Ms. Sellar said, Mr. Anderson found the perfect H. W. in Dillon Freasier, a 10-year-old boy from Fort Davis, Tex. “Paul’s always been very much into casting real people,” Ms. Sellar said. “He really wanted a kid who’d grown up around ranches and horses rather than someone coming in and trying to fake that.”
Mr. Anderson also cast locals as the wife and daughters of the farming family that intertwines with Mr. Day-Lewis’s character throughout the film. Christine Olejniczak, 48, a visual artist who moved to Marfa six years ago, was cast as Mother Sunday, the wife and mother. When she first heard the films were coming to Marfa, Ms. Olejniczak said, “it didn’t really register as a big deal to me.”
“Just like, oh, there’s going to be a lot of people in town this summer,” she continued. “It’s funny that it would not only affect my life, but affect it so enormously. It’s like I ran away to the circus, but the circus came to town instead. They taught me a trapeze act, and just when I started to get good at it, they left.”
(http://graphics10.nytimes.com/images/2006/08/27/arts/27join.2.650.jpg)
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“Paul’s always been very much into casting real people,” Ms. Sellar said.
he has? that's news to me. i guess if he means real humans as opposed to animatronic or CGI characters, sure. he's not Bresson or anything.
as long as the kid he chose isn't as "real" as dixon was.
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From here on out, I am only interested in what is real. You're real. Your room is real. Your friends are real. Real, man, real. You know? Real. You're more important than all the silly machinery. Silly machinery. And you know it! In eleven years its going to be 1984, man. Think about that!
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all of you shouldn't even read this thread, just this message, cos it's important. this thread shouldn't exist. i hope they don't even make a trailer of this. i also hope amazon stops selling the book oil. pta should film and edit this movie in a bunker on his own and kill the actors in post production.
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you just plain freaky
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there will be blood... in 2007
from cigs & reds http://cigarettesandredvines.com/main.php?id=N01
MERRY CHRISTMAS!!!!
2006, no movie.
Only means one thing; we will have a movie for you all in 2007.
Wanted to wish a happy chirstmas, merry new year to everyone.
We are working on the film, slowly but surely getting there. We're
very happy, very burned out, a little sick of it, more than excited,
anxious to get back home for a break and sending you thanks
for being interested in what we're doing.
It's been a wonderful year, making the film and lots
of other things too. I have much more to say but should
leave it at that.
oh - for anyone not paying attention who needs to
see the greatest stuff there is: there's a preston sturges collection
out./ now. just released. box set. all his movies. must go and get. great gift.
also: is little miss sunshine' the best movie of the year? i think
so. it's out on DVD today, too.
best, paul.
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i love that man.
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also: is little miss sunshine' the best movie of the year? i think
so. it's out on DVD today, too.
really?
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So, my friend goes to a New York art school called Cooper Union, which also happens to be the school that David Lynch's son, Austin Lynch, attends. Apparently Austin Lynch has strangely been MIA for the entire Fall semester, and my friend had wondered if he'd left the school, graduated early, gotten killed, etc. Well, it turns out, that Austin has been in Los Angeles this semester, working on a "Making-Of" documentary for a film called "There Will Be Blood" by a filmmaker named "Paul Thomas Anderson." Small world, eh?
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Damn nepotism.
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also: is little miss sunshine' the best movie of the year? i think
so. it's out on DVD today, too.
really?
Whatever. He also recommended the highly underrated Preston Sturges.
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Whatever. He also recommended the highly underrated Preston Sturges.
Who underrates Preston Sturges? I was under the impression that his excellence was pretty well agreed upon.
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Whatever. He also recommended the highly underrated Preston Sturges.
Who underrates Preston Sturges? I was under the impression that his excellence was pretty well agreed upon.
Perhaps 'underappreciated' is what I was looking for. People don't typically hear much about Preston Sturges, is all I meant.
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I can't shake the feeling it'll still be a full year from now before this thing gets a wide release.
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don't remember if this has been discussed or how reputable the source is (imdb boards) but it would've been news 6 months ago. apparently Paul Dano was hired to play Eli after another actor...
The original Eli actor was Kel O'Neill (XX/XY). Scuttlebutt on the set this week was that he demanded higher pay and got canned in the ensuing battle of wills.
http://imdb.com/title/tt0469494/board/nest/48204784
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what about the awesomeness of this discussion on imdb?
http://imdb.com/title/tt0469494/board/nest/61060912
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Seems weird that that dude would demand more money.
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what about the awesomeness of this discussion on imdb?
http://imdb.com/title/tt0469494/board/nest/61060912 (http://imdb.com/title/tt0469494/board/nest/61060912)
imdb discussions have the ability to make me feel both great and totally depressed at the same time.
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I can't shake the feeling it'll still be a full year from now before this thing gets a wide release.
Yep.
http://www.slashfilm.com/article.php/20070104ptandersontherewillbeblood
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that article lists no source and i've never heard of that site before. so regardless of whether or not it is released in december, i doubt that article has any validity.
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u stryke me as one of those kats whu gains a false cents of well being amb inpoortense bi doubting the validity of stuph...
non listed sources and not having eard of sumfing shud never destact u fru sum trufe and shit...
ow do you weigh in on
1. jehova jireh
2. my pro vyda
3. puff tiya hiya
next time you strike me i will strike back like the impire o de goot vil hunter en negro
jay suess loves yu mang...an if he disnt den da boo duh may
mow dige mow did
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you ever play mad gab? i'd want you on my team.
-
i want you on my team.
(http://i5.photobucket.com/albums/y154/pubrick/vidcaps/190px-Screenshot2_promiscuous.jpg)
so does everybody else.
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i want you on my team.
(http://i5.photobucket.com/albums/y154/pubrick/vidcaps/190px-Screenshot2_promiscuous.jpg)
so does everybody else.
Just when that song was out of my head...
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monday, january 15th
release date
hullo. we received several e-mails pointing us to the november 2007 release date for there will be blood posted on imdb. we assumed this was random/bs, and when contacted paul's assistant's quote was: 'first i've heard of it' -- i'm certain once there is a official release date to be had, one of our shadowy people will let us know and we will let you know.
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From The Los Angeles Times' Sneeks 2007:
There Will Be Blood Writer-director Paul Thomas Anderson uses the oil fields of the American West as the backdrop to a sprawling family epic based around the rise of a prominent oilman (Daniel Day-Lewis). With Paul Dano, Ciaran Hinds and Kevin J. O'Connor. Paramount Vantage, Dec.
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now thats a source! :yabbse-grin:
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I'll try to be more valid next time.
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...
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Pic on cigarettes and red vines of the Little Boston set.
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and another added....
vines it up:
love
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cigarettes & red vines reporting an Oct. 26 release date
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http://www.thestar.com/artsentertainment/article/182438
Speculation There Will Be Blood is going to Cannes.
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it also says Alexander Payne is the director of I Now Pronounce You Chuck And Larry so i'll take this article with a grain of salt. but i do think that Blood will probably go to Cannes.
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HOLY SHIT!
there won't be score.
just like our sister site, fairfax avenue is an april fool's joke-free zone. so with that in mind -- shock and disbelief! i've just been informed by pta's camp that jon brion isn't doing the score for 'there will be blood'. paul thomas anderson has mentioned classical composer krzysztof penderecki as one of his inspirations while writing the film, so it's possible he's using cues that already exist. there is no 'replacement' or another composer writing the score (that i know of).
http://www.fairfax-avenue.com/
this is terrible! (or is it?)
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not necessarily... i was just wondering the other day if a brion-esque "whimsical" score would work for this film. not that thats all brion can do... but still
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I would really love to see him not use a score at all. It would be such a departure for him, based on the 4 previous films. He knows how to use music so well that it would really be something to see how he doesn't use music.
Anyway, that's all speculation, but this isn't: I love PTA, and I'm reminded of that every time I hear a piece of news for this movie!
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i guess it makes sense.
PDL only had two pop songs that i can think of (He Needs Me and Lonely Blue Boy). Lonely Blue Boy was barely heard at that. this was a huge departure from the very pop song oriented Magnolia and Boogie Nights.
too, it's a period piece.
i finally got to see the Rollins interview and he mentions Penderecki being used in the Shining.
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dude. it has nothing to do with pop songs. jon brion wrote the music! the instrumental stuff that goes under the scenes. and i dont think the magnolia score was whimsical.
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the PDL score was more rhythmic than anything.
(oh, i forgot Waikiki earlier).
everything PTA has done so far is very now and everything JB has scored has been very now. for all we know JB might not have been comfortable scoring a period piece.
i don't know though, a soundtrack of JB melodies played on tack piano (or saloon sounding piano) might be pretty cool.
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This will be interesting. PTA has something hidden up his sleeve.
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too, it's a period piece.
too, boogie nights was.
This will be interesting. PTA has something hidden up his sleeve.
there was blood on his sleeve.
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too, it's a period piece.
too, boogie nights was.
ok, fair shot.
a period piece where there was no recorded music at the time* (this is early 1900's, right?)
*i think(?)
in boogie nights are there any songs that are newer than the time period the movie is set in (it's been several years since i watched BN)?
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a trailer has never been more needed than now to squash this nonsense.
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A good piece of music is timeless. I'm not saying that if Jon Brion did the score all on a vocoder, it wouldn't be out of place - but judging by his scores so far, nothing would be very time specific, only mood specific (with the exception of, say, Here We Go and Strings That Tie To You, which are pop songs.
For instance, if they used Clementine's Loop in There Will Be Blood, I'm sure it would fit in perfectly. Anything Jon composed would fit perfectly, really. The reasons his scores to date were successful isn't because they are set in contemporary periods (considering he didn't score Boogie Nights, but Clementine's Loop was in it) but because he's incredibly intuitive to what a filmmaker needs and what lends itself to any particular scene.
So, if I had to speculate, I don't think the reason he's not doing the score has anything to do with him or PTA worrying about not being capable. But either:
A.) Jon's schedule is pretty stacked and he doesn't have the time.
or
B.) Life is short and Penderecki's music is pretty fucking righteous. Why not work with whoever/whatever floats your boat in the little time you do have to do what you want to do?
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i think its definitely a conscious stylistic choice. there is no way that brion is too busy for pta. not as long as he's been working on this movie. no way, no how.
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if magnolia was his 2001, and now he's doing penderecki.. that means he's skipping clork (thank god) and possibly barryndon, and going straight to the shin.
if my black maths serves me well, this will be his barryning.
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i can see how it might construed that there won't be a score at all from my update, but i merely meant there won't be a jon brion score. it's certainly not about jon not having time in his schedule -- he does what he truly wants to do.
there were similar freakouts when dylan tichenor wasn't editing punch-drunk love, or none of the pta regulars were cast in twbb, but fear not, it will be wonderful.
no jb score is either because of:
jon/paul having a falling out
paul already having the music he wants
dollars to donuts, it'll be pre-existing music.
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how come there was no update on cigsnvines about this? its the biggest piece of news since....vincent froio
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doesn't he know penderecki isn't cool anymore?
anyways, for the first time i'm really excited for this movie. i want a scoreless PTA movie.
this will be his barryning shyndon.
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i want a scoreless PTA movie.
I just about guarantee you will die unfulfilled.
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how come there was no update on cigsnvines about this? its the biggest piece of news since....vincent froio
pauls assistant mentioned it to us
jeff posted it on fairxxx
i was lazy and didnt
ill put it up next update
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too, it's a period piece.
too, boogie nights was.
ok, fair shot.
a period piece where there was no recorded music at the time* (this is early 1900's, right?)
*i think(?)
in boogie nights are there any songs that are newer than the time period the movie is set in (it's been several years since i watched BN)?
I thought Boogie Nights was scored by Michael Penn, not Jon Brion. Although Jon did write some music, and the Clementine Loop was used. I'm not 100% on this.
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I thought Boogie Nights was scored by Michael Penn, not Jon Brion. Although Jon did write some music, and the Clementine Loop was used. I'm not 100% on this.
the issue in question was not whether jon brion scored boogie nights, which is well established he did NOT (imdb, cigs and redvines, credits), but rather the rationale behind a complete departure in scoring approach.
ignoring hard eight which can be summarised as clementine's loop, PTA did indeed do pop-heavy soundtracks for boogie and maggie, and then not so much peedy. so all bigideas was pointing out was that the transition might in this case be drastic enough to do away with a composer altogether (though i doubt he will use penderecki instead, too shinny --- unless we have the tone of this movie all wrong) or at least experiment with a new one.
i agree with the reasoning but not the conclusion, because brion can do whatever the hell he wants.
click this link to introduce yourself (http://xixax.com/index.php?topic=2.705)
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the issue in question was not whether jon brion scored boogie nights, which is well established he did NOT (imdb, cigs and redvines, credits), but rather the rationale behind a complete departure in scoring approach.
I agree. Hedwig had responded that Boogie Nights was a "period piece" to bigideas post stating that Brion might not be comfortable scoring a period piece. Hence my post.
Speaking for myself, I don't care who he gets to score it. I'm sure Paul knows what he wants and I'm looking forward to seeing the film--maybe at the NYFF in September, if I'm lucky.
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Scoring a period piece in which you lived through (BN is 80's, right?.....if not 70's) is a lot different than scoring a period piece over half a century before you were born.
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Scoring a period piece in which you lived through (BN is 80's, right?.....if not 70's) is a lot different than scoring a period piece over half a century before you were born.
Plus, the Boogie Nights score wasn't huge. The main piece was (I'm assuming) The Big Top (which is still one of the most brilliant things I've ever heard). But the pop 70s/80s songs took up 95% of the soundtrack. I think PTA could be successful not using a score (or any music for that matter) in one of his films. This could be the one.
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I think PTA could be successful not using a score (or any music for that matter) in one of his films. This could be the one.
why? for the gimmick? not using a score is like not using dialogue. sure he could make a silent film, but why the fuck would he? with this and JG's similar comment it really strikes me that some of you don't even realise what you're saying.
"hey i bet he could make a movie blindfolded, i'd like to see that!"
"hey what if he made a movie without using the colour blue?? that would be so awesome!"
"geez i wish he'd make a movie without making a movie.. uh.."
i hope he NEVER makes a film without a score.
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I think PTA could be successful not using a score (or any music for that matter) in one of his films. This could be the one.
why? for the gimmick? not using a score is like not using dialogue. sure he could make a silent film, but why the fuck would he? with this and JG's similar vapid comment it really strikes me that some of you don't even realise what you're saying.
"hey i bet he could make a movie blindfolded, i'd like to see that!"
"hey what if he made a movie without using the colour blue?? that would be so awesome!"
"geez i wish he'd make a movie without making a movie.. uh.."
i hope he NEVER makes a film without a score.
i own up to my post being fanboyish and lacking any insight, but no dialogue and no score are not analogous. to bring up a movie i'm pretty sure you loved, would l'enfant be the same with a score? this is not say the success of the movie depended upon a score/no score, nor will PTA's, but i think its an important stylistic decision. to bring up a movie i'm pretty sure you didn't love, i think children of men benefited in a similar way in restricting itself to no score.
on the other hand, i would say that a silent movie would be strictly a gimmick and probably (?) boring.
but my post stemmed from the fact that i've been leaning toward the idea of a scoreless movie with my own project, and the fact that PTA might share that sentiment is neat. again, fanboyish, but i'm pretty sure i know what i'm saying.
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Children of Men did have a score.
I don't think not having a score is gimmicky at all. Ingmar Bergman's movies frequently had no score, or sometimes classical music used diagetically. L'Enfant is another good example. It's often an effective choice, and creates a different tone altogether.
I don't particularly think that PTA is actually going scoreless (that's admittedly wild speculation), but the choice of no score is more than just a gimmick. A good filmmaker should simply pay attention to what works, rather than assuming that all films need this or that, or assuming that a Jon Brion score is what's best for the film. I think we can trust that PTA is going to make choices that work for the film, as his sensitivity to the form is as sharp a one as there has ever been.
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Children of Men did have a score.
I don't think not having a score is gimmicky at all. Ingmar Bergman's movies frequently had no score, or sometimes classical music used diagetically. L'Enfant is another good example. It's often an effective choice, and creates a different tone altogether.
I don't particularly think that PTA is actually going scoreless (that's admittedly wild speculation), but the choice of no score is more than just a gimmick. A good filmmaker should simply pay attention to what works, rather than assuming that all films need this or that, or assuming that a Jon Brion score is what's best for the film. I think we can trust that PTA is going to make choices that work for the film, as his sensitivity to the form is as sharp a one as there has ever been.
Exactly.
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Children of Men did have a score.
i thought that it might, but it was certainly much more refined than most movies of that nature (eg. no triumphant strings at climactic moments). the movie was mostly scoreless, no?
i also want to add that the whole score/no score issue is pretty meaningless until we actually see how well the sound design is integrated into the actual film. everything else is fanboy (word of the day) speculation, which is fun, but its just that.
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It's not effective to compare PTA to the Dardennes or the films that Ingmar Bergman made that were bare and had no score at all. Both filmmakers only went scoreless when dealing with projects that were small and had a focus almost as small. By all illustrations of what There Will Be Blood will encompass, it will benefit from a score. When Sam Peckinpah went into The Wild Bunch, he wanted to do a scoreless film but he was convinced out of it. The composer he talked to said a large film of scope and size like his would lose all emotion if he didn't have a score to help move the action. So Peckinpah adopted a score and later admitted it was the right idea.
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It's not effective to compare PTA to the Dardennes or the films that Ingmar Bergman made that were bare and had no score at all. Both filmmakers only went scoreless when dealing with projects that were small and had a focus almost as small. By all illustrations of what There Will Be Blood will encompass, it will benefit from a score. When Sam Peckinpah went into The Wild Bunch, he wanted to do a scoreless film but he was convinced out of it. The composer he talked to said a large film of scope and size like his would lose all emotion if he didn't have a score to help move the action. So Peckinpah adopted a score and later admitted it was the right idea.
Exactly. Not using any score only works when the story is tiny, intimate, and naturalistic. PTA's stories tend towards the grand, operatic, and stylized. Not having a score in that context would wrench the audience right out of the film.
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my argument doesn't even presuppose that this is a grand scale film (which it obviously is), what i want to point out is that anyone who is saying "i want a scoreless film.. somewhere down the line" is just ridiculously (as some of you have admitted) placing hoops for PTA to jump through. who cares if he can make a film without music?
it was ludicrous to make a connection from no brion to no score, and wanting to see if PTA can jump through that hoop is completely arbitrary. next film he might not use Elswit... does that mean he's calling Beebe and going digital?? that'll be the next crazy gimmick you grab onto.
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i foolishly made a connection from no Brion to Ludacris scoring.
-
So I heard the new Paul Thomas Anderson movie isn't going to have any music.
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So I heard the new Paul Thomas Anderson movie isn't going to have any music.
oh my god seriously? for the first time i am excited about this movie!
-
my band is scoring there will be blood and it's all rockabilly
-
I heard Ratner, because he heard PTA wasn't using score, has decided to make Rush Hour 3 sans any music at all.
-
I've stopped listening to music completely.
-
just heard back from pta and it turns out he's not using our score; he's going scoreless
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i just called him up to check and he told me he wants to settle the hoopla once and for all:
he's NOT going scoreless.. he's going scorsese.
-
so he's only using Gimme Shelter.
-
I heard PT Anderson's new Music will be Movie-Less
-
I heard AntiDumbFrogQuestion's new Post is Funny-Less.
-
damn right!...i have no one to entertain here...just holding out for onscreen action from Marfa. :yabbse-smiley:
-
script - read the opening. a smile from ear to ear. now it is locked away, key swallowed.. anticipation amazingly increased to its highest level.
-
I was able to read the entire script from an insider at a production company. I won't spoil any plot details except to say that it is very, very good. Considering some of the dialogue, it could come off as rather stiff in the movie. But with an actor like DDL, it will be fantastic.
The script was an earlier draft but from what I read - the title doesn't lie.
-
I've read it. It's good.
-
Was there music written into the script?
-
Was there music written into the script?
Yea, in the first few pages, music is referenced.
-
in the very first line actually.
-
I believe later in the script there is also a refrence to "pedal tones, suspensefull". I believe that is the exact wording.
-
reading it beforehand doesn't ruin anything?
i read Eternal Sunshine beforehand, but so much time passed that i forgot a good deal of it.
-
reading it beforehand doesn't ruin anything?
nah he actually marks a great deal of the script with SPOILERS!
saturday, april 30th
post-production stuff
mini bit of semi-interesting news: gotten word that paramount is keeping the cast booked for the last two weeks in may for re-shoots in mexico. don't really know any specifics, but editing was meant to be finished this/last week according to The Team, so i'll try to find out a bit more in the next day or two to elaborate further.
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well i couldnt help it and read the first 30 pages. but no more now :roll: super fans will notice that he still cant spell the word business ha ha.
-
cigs n red vines reports that...
there are strong rumors that there will be blood will premiere at the venice film festival. the article lives here (http://www.variety.com/article/VR1117965603.html?categoryId=1061&cs=1)
aaaaand i just looked up flights/hotels to venice. if they announce that in the lineup in July, i'm going to seriously consider going to Italy for a week. tell me i'm not the only one?
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cigs n red vines reports that...
there are strong rumors that there will be blood will premiere at the venice film festival. the article lives here (http://www.variety.com/article/VR1117965603.html?categoryId=1061&cs=1)
aaaaand i just looked up flights/hotels to venice. if they announce that in the lineup in July, i'm going to seriously consider going to Italy for a week. tell me i'm not the only one?
well i was gonna consider it, but then i got this today:
From: The Screening Exchange [mailto:reply-208438@elabs3.com]
Sent: Friday, May 23, 2007 2:36 PM
Subject: You're Invited to the New Drama/thriller with Daniel Day-Lewis, There Will Be Blood!
Hey MATTHEW,
Thanks for participating with The Screening Exchange! We’d like to invite you to a screening in your area of this upcoming There Will Be Blood feature film.
Here’s all of the information you need to attend this screening:
There Will Be Blood
Tuesday, May 29, 2007 – Showtime: 7:00 PM
AMC Burbank 16
125 E. Palm Ave
Burbank, CA 91502
Please be sure to arrive no later than 6:15 PM, because seating is on a first-come, first-served basis.
This invitation is for you and a guest between the ages of 17 to 56. Unfortunately, we cannot admit anyone to this screening that is outside of this age range.
If you wish to attend this screening, then please
confirm by contacting us via phone or email.
Confirmation Phone #: 866-827-7136
Confirmation E-mail: rsvp1@thescreeningexchange.com
To ensure your RSVP to this screening of There Will Be Blood, please be sure to provide us with the following information when you call or email us:
1. Your name
2. Whether or not you will be bringing a guest
3. Your primary phone number
4. Your gender and your guest’s gender
5. Your ethnicity and your guest’s ethnicity
6. Your age and your guest’s age
7. Your e-mail address
8. Confirmation code: E-37
For a description of There Will Be Blood, as well as its MPAA rating status, please visit www.thescreeningexchange.com. Thank you for participating with The Screening Exchange, and we hope to see you at the movie theater!
(http://imagecache2.allposters.com/images/pic/MMPH/255239~Daniel-Day-Lewis-Posters.jpg)
No, no, no, i kid! it was for The Invasion... so yeah, youre not the only one mods.
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i was THIS CLOSE to having a heart attack.
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I actually looked up plane tickets to Italy as soon as I read that. Then I opened my bank statement. I went to the Venice fest a couple years ago, but I fear I have become poorer since then.
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I work for the Screening Exchange and figured it would be unlikely for them to screen TWBB quite this early. But I'm keeping an eye open for anything in the NYC area.
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the trailer for 'there will be blood' can be viewed here (http://www.cigarettesandredvines.com/main.php?id=N01).
and this isn't an april fool's joke or any shit like that.
one minute and thirty seconds of the new film for your pleasure.
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Yeeeaaahhh. A nice taste without being particularly spoilerful, I felt.
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Chere Mill Be Blood.
also the song at the end, does that explain the title? "the precious blood of the land"
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That's amazing.
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wow, what a great trailer
no fluff at all, that was everything a trailer should be. can't wait
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The score is crickets.
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Wow... I can say that that is one of the best trailers I've ever seen without exaggerating. It's like a short film. I really don't see how this film can be anything other than spectacularly good.
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woof, i'm excited.
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After watching it again it just ocurred to me that there are no credit details on this thing - are we even sure it's the trailer? Maybe it's an industry promo or something. Either way, it's amazing. Fuck it, I'm going to watch it again right now...
Edit: Okay, I just read what cigsandvines wrote about Paul sending them it. I guess they'll just add the credits later...
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:yabbse-grin: <im like this, but happier...
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I liked that.
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great great great.
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HOLY SHIT.
I never thought this day would come.
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This is exciting although I'm not sure if that's the official teaser or what.
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WHAT THE FUCK ARE YOU TALKING ABOUT?
PAULS CAMP NOTIFIED CIGSNREDVINES ABOUT THIS AND IT WAS OBVIOUSLY CUT BY PAUL!
also the song at the end, does that explain the title? "the precious blood of the land lamb"
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haha, great av mod.
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It's like PTA is channeling his inner Malick.
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It's like PTA is channeling his inner Malick.
Definitely. That's exactly what I thought after I had calmed down. It's a very, very intriguing and exciting prospect - it could mean the combining of two very different styles of determindley visceral filmmaking. I think we're going to be seeing something that feels very new and different to anything else with this one.
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It's like PTA is channeling his inner Malick.
Definitely. That's exactly what I thought after I had calmed down. It's a very, very intriguing and exciting prospect - it could mean the combining of two very different styles of determindley visceral filmmaking. I think we're going to be seeing something that feels very new and different to anything else with this one.
It still scares me. PTA's major problem with his last films has been imitation of other filmmakers. Mallick is one of the ultimate visualists there are. Already in that trailer I see shots that Mallick has already done. The hope is what Children says: something new and different. PTA needs to transform the Mallick surface and make his own film. Because I consider him a talented writer before a great director, I think he has a chance. But I admit I'm nervous.
A wonderfully perfect trailer. Should win that dumb Xixax award.
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It's like PTA is channeling his inner Malick.
Definitely. That's exactly what I thought after I had calmed down. It's a very, very intriguing and exciting prospect - it could mean the combining of two very different styles of determindley visceral filmmaking. I think we're going to be seeing something that feels very new and different to anything else with this one.
It still scares me. PTA's major problem with his last films has been imitation of other filmmakers. Mallick is one of the ultimate visualists there are. Already in that trailer I see shots that Mallick has already done. The hope is what Children says: something new and different. PTA needs to transform the Mallick surface and make his own film. Because I consider him a talented writer before a great director, I think he has a chance. But I admit I'm nervous.
I'm not worried. He incorporates elements of other directors' styles into an overall formal system that has been developing slowly to the point at which, in PDL, I think became totally unique, with its own rhythm and its own distinctve aesthetic. I agree that the Malick influence appears obvious here, but I have no doubt that it will be used and incorporated into the 'Anderson-esque' approach in such a way that it won't feel like pastiche, but rather the intelligent drawing on, and development of, cinematic history. I anticipate, for example, fascinating clashes between slow, langurous moments taken from Malick and the bursts of kinetic energy that characterise some of the most exciting moments of his films.
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It's like PTA is channeling his inner Malick.
Definitely. That's exactly what I thought after I had calmed down. It's a very, very intriguing and exciting prospect - it could mean the combining of two very different styles of determindley visceral filmmaking. I think we're going to be seeing something that feels very new and different to anything else with this one.
It still scares me. PTA's major problem with his last films has been imitation of other filmmakers. Mallick is one of the ultimate visualists there are. Already in that trailer I see shots that Mallick has already done. The hope is what Children says: something new and different. PTA needs to transform the Mallick surface and make his own film. Because I consider him a talented writer before a great director, I think he has a chance. But I admit I'm nervous.
I'm not worried. He incorporates elements of other directors' styles into an overall formal system that has been developing slowly to the point at which, in PDL, I think became totally unique, with its own rhythm and its own distinctve aesthetic. I agree that the Malik influence appears obvious here, but I have no doubt that it will be used and incorporated into the 'Anderson-esque' approach in such a way that it won't feel like pastiche, but rather the intelligent drawing on, and development of, cinematic history. I anticipate, for example, fascinating clashes between slow, langurous moments taken from Malik and the bursts of kinetic energy that characterise some of the most exciting moments of his films.
PDL doesn't stand up well for me anymore because it is all style. You say Anderson became totally unique with it which I won't disagree with, but he sacrificed the best of his writing abilities to get to that point. My philosophy is that style innovation has to go hand in hand with with excellent writing to be meaningful.
I hope There Will Be Blood mixes the best of Anderson's filmic personality with the best of his writing. I hope the characters are meaningful and the portrait honest.
I also hope you'll consider allowing multiple reviews of the film on your website when it's released :yabbse-grin:
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My philosophy is that style innovation has to go hand in hand with with excellent writing to be meaningful.
I hope There Will Be Blood mixes the best of Anderson's filmic personality with the best of his writing. I hope the characters are meaningful and the portrait honest.
I agree with these bits. I thought you were mainly talking about visual style, so that's what I focussed on. PDL does stand up for me, but in a very different way to ,say, Magnolia. PTA is just a first-class writer though, no matter what route he chooses, and he has the ability to change his writing style to meet the approach demanded by the overall movie. The kind of film that There Will be Blood seems to be obviously requires a completely different writing style to PDL, and I have no doubt he'll rise to it. I'm just particularly excited because he now seems to have found such a unique visual voice, and he'll be able to use that to complement this new kind of material. The more I think about it, the more I think that this could be his masterpiece (though whether it will de-throne Magnolia from it's place at the centre of my cinematic life is another question).
Not to build it up too much or anything...
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i love you guys right now. that was quite tastey.
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I hope the characters are meaningful and the portrait honest.
For me, these two things have always been constant factors in P.T.'s films, in addition to spot-on writing that makes him one of the best storytellers we've got out there. Writer first, director second, like he's said. He can cite as many directors as he pleases, because in the past those references have served the story above all; they're not just cheap references he throws around for style's sake.
My heart's all a flutter after watching that trailer.
This is all subjective, but my stance on Punch-Drunk Love is that the style around the film overrides the story. It can be considered a good film (which I do consider it), but it can also be seen as a defeat for Anderson who was made better films in his previous two efforts.
See, when people say he was just riding on the coat tails of Altman with Boogie Nights and Magnolia, I don't really buy it. Structurally Magnolia is akin to Short Cuts, but the gliding camera movement was a staple of many filmmakers before Robert Altman ever got a handle of it. There are also many references to other filmmakers in both of those films beside Altman.
But in Punch-Drunk Love the references are obvious and limited to one or two filmmakers. The film is just too much of a lift from another filmmaker to be ultimately rewarding considering Anderson's talent. It is well written and has a good theme and idea at its core base, but that is all stagnated because of the enormous style that surrounds it.
Maybe I'm looking for something PTA isn't. Maybe film references will be as common in his career as it is for Scorsese, but the hope is that if he does that he will always aim high with his stories. Scorsese scrounged his ambitions as quikly as possible and made genre flicks. I don't think PTA will do that and I don't think Magnolia is his peak. The story is exceptional in many ways, but the theme in the story didn't age well for me. With There Will be Blood he will deal with character, history and reality to paint his picture instead of trying to convince an audience that frogs raining down from the sky is meaningful instead of funny. Even if you believe in the frogs, there is at least much more potentional in the subject that houses There Will be Blood.
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i have a feeling this will be your favorite one of his...
i just got back and watched it for a third time. it was even more extraordinary cause i cranked the speakers. ive been anticipating DDL's characteristics and what his voice would sound like. that bit of speech is so dark and both his voice and appearance is quite haunting. i dig it all around.
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The score is crickets.
haha. yeah.
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with a new Radiohead album on the horizon and a trailer for the new PTA film it feels like 2002 all over again.
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is that monologue from the book? i'm just curious as to how faithful he is going to be.
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I do not know if it is from the book or not, but PTA has said that it's a pretty loose adaptation.
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It's not from the book.
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:yabbse-thumbup: :yabbse-thumbup:
Love the darkness of the character.
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Elswit looks to be in top form. As always when he's working with PTA.
This movie is going to bomb badly. Most people will probably find it boring, and the only thing others will find great about it will be the cinematography.
Or maybe he'll ad a dance number.
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i heard that pta will promote the movie himself with the company of a cow on the streets of l.a.
hey, wait a minute...
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This movie is going to bomb badly. Most people will probably find it boring, and the only thing others will find great about it will be the cinematography.
I thought this ever since I read the title and story. I strongly agree with others that it seems he's doing a Malick inspired epic. On that level, I remember many people finding "The New World" very tedious. Even though it's one of my favorite films of the decade.
Can't wait to see the poster so maybe I can snag it for my collection.
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those shots of him in the dark with the shadows and such, are those of him saying the narration? his mouth doesnt seem to be moving to me.
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he gets asked the question first from someone off screen, then DDL answers...
right?
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he gets asked the question first from someone off screen, then DDL answers...
right?
yup!
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maybe i'm retarded but it doesn't seem to me like DDL's mouth moves.
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maybe i'm retarded but it doesn't seem to me like DDL's mouth moves.
It's all voice-over I think.
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maybe i'm retarded but it doesn't seem to me like DDL's mouth moves.
I don't see how you cannot understand that.
The voice over/audio monologue is from another part of the movie where DDL is actually saying it.
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that's what i thought. my friend was giving me the business because he thought it wasn't.
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said to my friend "just watched the teaser for ptas there will be blood and creamed my pants." i'm about to watch this one hundred times.
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The voice over/audio monologue is from another part of the movie where DDL is actually saying it.
this is a part of the reason there's such a strong malick comparison. but it reminds me of the earl VO monologe as well. PTAisms are all over it.
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Which bodes well for you. It means you were spared a Baptist upbringing:)
i had one and have turned out fine.
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The voice over/audio monologue is from another part of the movie where DDL is actually saying it.
this is a part of the reason there's such a strong malick comparison. but it reminds me of the earl VO monologe as well. PTAisms are all over it.
Feels much closer in spirit to Leone's Once Upon a Time in the West than it does to anything Malick did. Malick didn't even do anything resembling a western, so that comparison is retarded.
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I thought it came across in my post that, I too, had a Baptist upbringing. I think I came out ok. Even so, I didn't enjoy the experience. Don't be so uptight, my man.
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I don't get the Malick comparisons. Just because of the voice-over/montage approach? Did Malick copyright that or something?
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I thought it came across in my post that, I too, had a Baptist upbringing. I think I came out ok. Even so, I didn't enjoy the experience. Don't be so uptight, my man.
ah, so now that i revealed that you automatically assume that i'm uptight?
why, i never!
:yabbse-grin:
ha, man, i took it with a grain of salt.
unlike the cliche' i actually try to "judge not, less ye be judged."
but back on topic, I thought of Leone, too, but that really had to do with the trains and time period only. PTA's going to have some massive crane shots over train depots before i really think Leone...
and a big bussomed Cardinale-esque hottie....
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GT, are you referring to PDL as lifting from Tati or from someone else?
I think Paul mentioned Tati himself (didn't he?), but PDL is not like any Tati films really imo.
Now, Couch was pretty Tati if i remember correctly.
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Now, Couch was pretty Tati shit if i remember correctly.
you do.
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funny how it works out..
i started watching this trailer and at first didn't instantly get excited for the movie. which got me worried.
after a good 30 seconds, all the PTAisms and the cinematography and his total sense of direction came to the forefront.
and by the end, it made me wish it was out next week.
can't wait.
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and by the end, it made me wish it was out next week.
next week? who can wait till then!? what kind of superfan are you?
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alright alright, in two hours. haha.
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GT, are you referring to PDL as lifting from Tati or from someone else?
I think Paul mentioned Tati himself (didn't he?), but PDL is not like any Tati films really imo.
Now, Couch was pretty Tati if i remember correctly.
PDL wasn't Tati in jokes and set up, but it was Tati in composition. The story and themes were unique, but the film marginalized itself by having his influence everywhere.
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GT, are you referring to PDL as lifting from Tati or from someone else?
I think Paul mentioned Tati himself (didn't he?), but PDL is not like any Tati films really imo.
Now, Couch was pretty Tati if i remember correctly.
PDL wasn't Tati in jokes and set up, but it was Tati in composition. The story and themes were unique, but the film marginalized itself by having his influence everywhere.
can you be more specific?
the most Tati thing to me (that i can think of now without seeing PDL in so long) is at the beginning when Barry is alone and he's walking and it's pitch dark and you hear the squeak of his shoes.
the signature Tati thing to me is some kind of shot where the camera is aimed at one structure, unmoving, and Tati and/or other actors create comedy by moving in and out of that space. the main ones i can think of now - in either Hulot or Mon Oncle where you see the house and the camera just observes as he walks by windows, down stairs, and then in Playtime where the camera observes outside the apartments with huge windows.
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Yeah, there was a lot more of, say, Shoot The Piano Player than there was Tati.
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let's not forget the long goodbye. and while we're pointing this shit out, i loved the night of the hunter stuff.
i agree with gt about the tati influence on punch-drunk love but i don't feel like it marginalized the film by any means. the sound of shoes squeaking could be a tati reference but it isn't specific enough; maybe tati was on the mind but it seems more subconscious relative to the deliberateness anderson composes his shots with. to me, tati is most evident in just about every scene in the warehouse--the cold modernity of industry, monochromatic color schemes vs. the bleeding, saturated colors in hawaii, spatial/physical comedy (ie luis guzman testing demonstrating the plungers for clients in the far background). also the minimal dialogue.
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Is there a QT version? I want to make a gif of the shot where the camer races over and then up to watch the oil spring. Pure PTA right there.
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I knew there were other influences to PDL than just Tati. The problem for me is that I hadn't seen those films mentioned so I do need to see them before I can comment. But I still think my argument stands. My referencing Tati is just an example.
My original argument is that compared to Magnolia and Boogie Nights, Punch-Drunk Love has references that override the story. It forms the shape of the story and guides the characters. They don't exist as freely as they do in Boogie Nights and Magnolia. Those films are based closer to drama. Punch-Drunk Love is the film experiment.
I think PDL is good and fine, but its ceiling for its ambition is limited. I think greater heights are to be reached with what Boogie Nights and Magnolia do.
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I knew there were other influences to PDL than just Tati. The problem for me is that I hadn't seen those films mentioned so I do need to see them before I can comment. But I still think my argument stands. My referencing Tati is just an example.
My original argument is that compared to Magnolia and Boogie Nights, Punch-Drunk Love has references that override the story. It forms the shape of the story and guides the characters. They don't exist as freely as they do in Boogie Nights and Magnolia. Those films are based closer to drama. Punch-Drunk Love is the film experiment.
I think PDL is good and fine, but its ceiling for its ambition is limited. I think greater heights are to be reached with what Boogie Nights and Magnolia do.
i'm def not saying you are wrong, i'm just wanting more specifics like "this scene in PDL references this scene in this Tati film," etc.
PDL's form seems so New Wave to me.
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Not gonna lie, first thing I thought of was Days of Heaven. Regardless it looks fanfuckingtastic. Doubt it will be as influenced as say Marie Antoinette.
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I knew there were other influences to PDL than just Tati. The problem for me is that I hadn't seen those films mentioned so I do need to see them before I can comment. But I still think my argument stands. My referencing Tati is just an example.
My original argument is that compared to Magnolia and Boogie Nights, Punch-Drunk Love has references that override the story. It forms the shape of the story and guides the characters. They don't exist as freely as they do in Boogie Nights and Magnolia. Those films are based closer to drama. Punch-Drunk Love is the film experiment.
I think PDL is good and fine, but its ceiling for its ambition is limited. I think greater heights are to be reached with what Boogie Nights and Magnolia do.
i'm def not saying you are wrong, i'm just wanting more specifics like "this scene in PDL references this scene in this Tati film," etc.
PDL's form seems so New Wave to me.
it seems french new wave to me, too. I regret lopsiding my comparison to one filmmaker, but to explain...
In Tati, the focus of the character was from afar and focused on his physical handicaps with the world around him. I think a similar touch is applied in Punch-Drunk Love. Some shots are close ups, but most shots are static shots from afar that isolate Barry Egan from everyone else and make his mannerisms and awkwardness the subject of the film's approach.
In some ways, this could be argued as what defined Chaplin as well, but I think there is a difference. The character of Monsieur Hulot has little semblance with a real character. Chaplin's Little Tramp really did. I think Barry Egan is a mixture of the little tramp and Hulot. Someone of Barry Egan's shyness and awakwardness can exist, but it would not be trumped up in such a heightened way. Egan's actions skid on believability a lot of times and frankly cross over into unbelievity.
Also, one has to consider the times both filmmakers existed in. Chaplin's character was considered realistic for its time. Chaplin was applauded for putting real sentiments into a genre that most people considered had absolutely none. When Bernard Shaw was asked why film lacked qualities of realism and deep feelings, he simply said "incompetence". Film has evolved and by the time Tati made the Hulot films, his choice to make Hulot unrealistic was a stylistic choice. As far as Chaplin knew, he was doing the very best one could to do add realism to what could have been a stock figure in a bad comedy.
So when PTA made PDL, he was also making a choice in how to portray Barry Egan. In chaplin's day it would just be assumed the characterization would be one way. By the time Tati came around, choices were available. Tati surrounded the film with a style and filmmaking scheme that is closer to PDL. If Anderson rid the film of its stylistic approach and just focused on the character of Barry Egan, the influence would be more Chaplin.
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I knew there were other influences to PDL than just Tati. The problem for me is that I hadn't seen those films mentioned so I do need to see them before I can comment. But I still think my argument stands. My referencing Tati is just an example.
My original argument is that compared to Magnolia and Boogie Nights, Punch-Drunk Love has references that override the story. It forms the shape of the story and guides the characters. They don't exist as freely as they do in Boogie Nights and Magnolia. Those films are based closer to drama. Punch-Drunk Love is the film experiment.
I think PDL is good and fine, but its ceiling for its ambition is limited. I think greater heights are to be reached with what Boogie Nights and Magnolia do.
i'm def not saying you are wrong, i'm just wanting more specifics like "this scene in PDL references this scene in this Tati film," etc.
PDL's form seems so New Wave to me.
it seems french new wave to me, too. I regret lopsiding my comparison to one filmmaker, but to explain...
In Tati, the focus of the character was from afar and focused on his physical handicaps with the world around him. I think a similar touch is applied in Punch-Drunk Love. Some shots are close ups, but most shots are static shots from afar that isolate Barry Egan from everyone else and make his mannerisms and awkwardness the subject of the film's approach.
In some ways, this could be argued as what defined Chaplin as well, but I think there is a difference. The character of Monsieur Hulot has little semblance with a real character. Chaplin's Little Tramp really did. I think Barry Egan is a mixture of the little tramp and Hulot. Someone of Barry Egan's shyness and awakwardness can exist, but it would not be trumped up in such a heightened way. Egan's actions skid on believability a lot of times and frankly cross over into unbelievity.
Also, one has to consider the times both filmmakers existed in. Chaplin's character was considered realistic for its time. Chaplin was applauded for putting real sentiments into a genre that most people considered had absolutely none. When Bernard Shaw was asked why film lacked qualities of realism and deep feelings, he simply said "incompetence". Film has evolved and by the time Tati made the Hulot films, his choice to make Hulot unrealistic was a stylistic choice. As far as Chaplin knew, he was doing the very best one could to do add realism to what could have been a stock figure in a bad comedy.
So when PTA made PDL, he was also making a choice in how to portray Barry Egan. In chaplin's day it would just be assumed the characterization would be one way. By the time Tati came around, choices were available. Tati surrounded the film with a style and filmmaking scheme that is closer to PDL. If Anderson rid the film of its stylistic approach and just focused on the character of Barry Egan, the influence would be more Chaplin.
ok. i see where you're coming from. i was thinking more thematically at the time - where every Tati film (that i've seen) deals with a character having trouble adjusting to the rapid world around him, but now that i think about it, Barry experiences this too, just more in the social sense - instead of man vs. technology.
one difference with Tati is the overwhelming sense of sentimentallity (or yearning for days gone by), whereas i don't think that is really present in PDL. if anything Barry is tormented by the past (his sisters, the hammer, the doghouse).
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...
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i think pdl is more a woman is a woman influenced.
i think there's a similiar blue suit.
what else?
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i think pdl is more a woman is a woman influenced.
i think there's a similiar blue suit.
what else?
I'm glad this has been mentioned, but I don't think the influence is huge for PDL. A couple shots here and there are ripped off. The camera following Karina at her first strip show behind stage and looking to someone playing music and cutting back was also done in PDL in a beginning scene showing Hoffmann at his business and the camera following a character and moving with the same exact motions.
But I think the movements of the camera in A Woman is A Woman have been found in other PTA films. His camera goes glide like Altman films do, but Altman's do at such a distance. He canvasses the area around the characters as much as he does the characters themselves. It's a bigger high light of his filmmaking than overlapping dialogue or anything.
And PTA doesn't do that. A Woman is a Woman has many gliding moments, but does so to the personal touch that is closer to PTA than I think Altman is. He just got branded by Altman because he continually says he respects Altman and Magnolia has too many links to Short Cuts not to miss but both filmmakers seem very different to me.
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i might just be talking out my ass here, but does anyone get kind of a Popeye feeling during the part where he's bouncing that baby and wearing that goofy hat...
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i might just be talking out my ass here, but does anyone get kind of a Popeye feeling during the part where he's bouncing that baby and wearing that goofy hat...
no, but you may be a pedophile. you better keep an eye on that
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i might just be talking out my ass here, but does anyone get kind of a Popeye feeling during the part where he's bouncing that baby and wearing that goofy hat...
no, but you may be a pedophile. you better keep an eye on that
amazing, you're officially Demented.
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i might just be talking out my ass here, but does anyone get kind of a Popeye feeling during the part where he's bouncing that baby and wearing that goofy hat...
no, but you may be a pedophile. you better keep an eye on that
amazing, you're officially Demented.
Been thinking the same thing. Cecil not around anymore?
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i think pdl is more a woman is a woman influenced.
i think there's a similiar blue suit.
what else?
I'm glad this has been mentioned, but I don't think the influence is huge for PDL. A couple shots here and there are ripped off. The camera following Karina at her first strip show behind stage and looking to someone playing music and cutting back was also done in PDL in a beginning scene showing Hoffmann at his business and the camera following a character and moving with the same exact motions.
But I think the movements of the camera in A Woman is A Woman have been found in other PTA films. His camera goes glide like Altman films do, but Altman's do at such a distance. He canvasses the area around the characters as much as he does the characters themselves. It's a bigger high light of his filmmaking than overlapping dialogue or anything.
And PTA doesn't do that. A Woman is a Woman has many gliding moments, but does so to the personal touch that is closer to PTA than I think Altman is. He just got branded by Altman because he continually says he respects Altman and Magnolia has too many links to Short Cuts not to miss but both filmmakers seem very different to me.
has PTA ever mentioned French New Wave or any of it's directors?
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He mentions Truffaut in the PDL commentary. "Shoot the piano player" to be exact. I always saw him as a 70's American cinema guy. PDL was th first time I noticed much new wave stuff. I guess Hard Eight had a bit of that.
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with Darjeeling and No Country taking the Opening and Centerpiece slots at the New York Film Festival that would probably mean if it does not get the Closing Night slot it will not play the fest. Boogie played there and PDL was the Centerpiece film i believe so i doubt that it would take one of the regular slots.
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PDL commentary.
:?:
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PDL commentary.
:?:
it's an easter egg on the saudi arabia edition.
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PDL commentary.
:?:
it's an easter egg on the saudi arabia edition.
ah, he must have meant Hard Eight.......now that i think of it he compares the match in the pants to the dead mother in Shoot i believe...
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He talks about Shoot the Piano Player in one of the Boogie Nights interviews:
5. Shoot the Piano Player (Francois Truffaut) (1960)
"I always loved gangster movies, but if you've seen a hundred of them you've seen two hundred of them, right? But in this, Truffaut took the American gangster movies that I knew and loved as a kid all that Humphrey Bogart stuff - and turned it on its ear. It was shot in Cinemascope, which was pretty much reserved for big budget Hollywood movies. And it also re-invented the gangster genre, and it took it somewhere brand new and postmodern: our hero could be a little skinnier and not so tough. One of my favorite things in this film is, this guy's driving the car and he's saying, 'may my grandmother drop dead if I'm telling a lie right now,' and it cuts to a shot of his grandmother falling down on the floor dead! Then it cuts back to the scene and that's all there is. That said to me, if one can do that, one can do a million other insane things. This film also taught me how I wanted to dress - I wanted to wear those suits! I wanted to be in that movie! The people in the film weren't typically handsome, but they were so sexy and cool."
http://www.cigarettesandredvines.com/article.php?id=B26
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i can't believe it's already been a year since i visited the set:
(http://img175.imageshack.us/img175/4433/pozer1sy9.jpg)
(http://img294.imageshack.us/img294/4683/pozer2iq9.jpg)
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hahah, stuff like this should happen more often.
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Shit, I used to have pictures I took of PTA's house, but they gone!
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pictures I took of PTA's house
:ponder: of the outside? or... did he LET YOU IN at least...
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it's still here man. (http://xixax.com/index.php?topic=6218.0)
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Ah, memories.
He should have used his house in his new flick. Fit right in. Fucking visionary.
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he gets asked the question first from someone off screen, then DDL answers...
right?
yup!
came upon this part in the script. was bored and skimmed thru looking for those lines of dialogue. that voice over is ALL DDL. he asks and answers.
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is he schizo or somethin cuz thats weird
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actually he asks the questions and someone else answers (obviously cut out of trailer). then he goes on with explaining why he himself is angry/envious: "I have a competition in me..."
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is he schizo or somethin cuz thats weird
Donald Rumsfeld used to do it all the time.
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is he schizo or somethin cuz thats weird
Donald Rumsfeld used to do it all the time.
John McCain does it too (http://www.youtube.com/watch?v=x1zCGADq1uk)
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its worse when he ends his sentences with "my friends."
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a script review:
http://www.theoscarigloo.com/2007/articles/therewillbeblood.html (http://www.theoscarigloo.com/2007/articles/therewillbeblood.html)
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the oscar potential section at the end of the review is really dumb.
Best Original Score- Jon Brion
:?
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hahha. this script is only ever reviewed by retards.
the first idiot didn't know it was based on a novel. and suddenly a new contender emerges.
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cigs n red vines reports that...
there are strong rumors that there will be blood will premiere at the venice film festival. the article lives here (http://www.variety.com/article/VR1117965603.html?categoryId=1061&cs=1)
aaaaand i just looked up flights/hotels to venice. if they announce that in the lineup in July, i'm going to seriously consider going to Italy for a week. tell me i'm not the only one?
Keep your money:
Venice awash with U.S., U.K. films
ROME -- Wes Anderson's "The Darjeeling Limited" and "It's a Free World" from Ken Loach are among the 21 films to screen in competition at the upcoming Venice Film Festival dominated by English-language films.
A total 22 of the 57 new full-length films screening in and out of competition in Venice are produced or co-produced in the U.S. and the U.K., according to a lineup announced Thursday by festival organizers.
Other English-language films set to screen include "Redacted" from Brian De Palma and "The Assassination of Jesse James by the Coward Robert Ford" from Andrew Dominik and starring Brad Pitt.
The festival's lineup will also have a typically strong Asian presence, with "The Sun Also Rises" from Jiang Wen -- a China-Hong Kong co-production -- and Japan's "Sukiyaki Western Django" from Takashi Miike among the competition's highlights.
64th Venice Film Festival lineup:
Opening film: "Atonement," Joe Wright, (U.K.-U.S.)
In Competition
"The Darjeeling Limited," Wes Anderson (U.S.)
"Sleuth," Kenneth Branagh (U.K.-U.S.)
"Le Chaos," Youssef Chahine (Egypt)
"Redacted," Brian De Palma (U.S.)
"The Assassination of Jesse James by the Coward Robert Ford," Andrew Dominik (U.S.)
"Nessuna qualita agli eroi," Paolo Franchi (Italy)
"Michael Clayton," Tony Gilroy (U.S.)
"Nightwatching," Peter Greenaway (Canada-France-Germany-Poland-Netherlands-U.K.)
"En la cuidad de Sylvia," Pilae Lopez De Ayala, Xavier Lafitte (Spain)
"In the Valley of Elah," Paul Haggis (U.S.)
"I'm Not There," Todd Haynes (U.S)
"The Sun Also Rises," Jiang Wen (China-Hong Kong)
"Help Me Eros," Lee Kang Sheng (Taiwan)
"La Graine et le mullet," Abdellatif Kechiche (France)
"Lust, Caution," Ang Lee (Taiwan)
"It's a Free World," Ken Loach (U.K.-Italy-Germany-Spain)
"L'ora di punta," Vincenzo Marra (Italy)
"Sukiyaki Western Django," Takashi Miike (Japan)
"12," Nikita Mikhalkov (Russia)
"Il dolce e l'amaro," Andrea Porporati (Italy)
"Les Amours d'Astree et de Celadon," Eric Rohmer (France-Italy-Spain)
Out Of Competition
"Cassandra's Dream," Woody Allen (U.K.-U.S)
"Cleopatra," Julio Bressane (Brazil)
"La Fille coupee en deux," Claude Chabrol (France)
"Beyond the Years," Im Kwopn Taek (South Korea)
"Glory to the Filmmaker," Takeshi Kitano (Japan)
"Cristovao Colombo -- O enigma," (Portugal-France)
Venetian Nights
"For a Fistful of Dollars," Sergio Leone (Italy-Spain-Germany)
"Blood Brothers," Alexi Tan (Taiwan-China-Hong Kong)
"REC," Paco Blaza and Jaume Balaguero (Spain)
"Far North," Asif Kapadia (U.K.-France)
"The Hunting Party," Richard Shepard (U.S.-Croatia-Bosnia)
"The Nanny Diaries," Shari Springer Berman, Robert Pulcini (U.S.)
"Nocturna," Adria Garcia, Victor Maldonado (Spain, France)
Horizons
"Sad Vacation," Shinji Aoyama (Japan)
"Mal nascida," Joao Canijo (Portugal)
"Searchers 2.0," Alex Cox (U.K.)
"Medee Miracle," Tonino De Bernardi (Italy)
"Cochochi," Laura Amelia Guzman, Israel Cardenas (Mexico-U.K.-Canada)
"With the Girl of Black Soil," Jeon Soo-il (South Korea-France)
"L'Histoire de Richard O," Damien Odoul (France)
"Autumn Ball," Veiko Ounpuu (Estonia)
"The Silence Before Bach," Pere Portabella (Spain)
"Exodus," Penny Woolcock (U.K.)
"The Obscure," Lu Yue (China)
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sweeeeet, i couldn't go anyway.
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Script Review:
http://www.theoscarigloo.com/2007/articles/therewillbeblood.html
Expect a film with mesmerizing imagery. Director Paul Thomas Anderson seems intent on creating iconic images for the modern age. In my opinion, the best way to describe the essence of this film is that it will be Kubrickian. For those Anderson fans who've been waiting for five years, the trademarks remain intact -- the camera follows characters in long-sustained shots, there are scenes of intense emotion, and by God there will be blood. I would not call the material overtly violent, but nonetheless the deaths and murders that the script describes are both horrifying in their graphic rawness and their dark intention. This picture will be a harrowing experience, and not just in its visuals.
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Another script review (some minor spoilers)
http://www.theaspectratio.net/therewillbebloodscript.htm
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Script Review:
http://www.theoscarigloo.com/2007/articles/therewillbeblood.html
wha bout poz's pozt, macky? five up, buttercup.
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Entertainment Weekly.
(http://img2.timeinc.net/ew/dynamic/imgs/070814/twbb_l.jpg)
After finishing Punch-Drunk Love in 2002, Boogie Nights director Paul Thomas Anderson found himself fumbling for a follow-up. ''I was really sick of the way I was writing,'' he says. ''Everything looked as though I had written it, and that was a horrible feeling.'' Purely as an exercise, Anderson decided to adapt a scene from a novel he had just discovered: Oil!, Upton Sinclair's 1927 take on the grueling, greedy business of prospecting for black gold in California. ''It was a buoy, just to keep writing,'' says the director. ''I didn't think I would end up adapting the [whole] book, but it turned out that way.''
And so out trickled Blood, which hews close to the first 100 pages of Sinclair's book before going its own way as it tracks the relationship between a silver miner-turned-oilman (Daniel Day-Lewis, who was interested after reading only half the script) and his son (Dillion Freasier). Shooting took place last summer in the remote desert terrain of Marfa, Tex., because, as producer Joanne Sellar explains, ''you can't find old California in California anymore.'' An 80-foot oil derrick was built and filled with fake oil that, according to Anderson, includes ''the stuff they put in chocolate milkshakes at McDonald's.'' The director thinks Blood has helped revitalize his creative process. ''I'm writing something new now — and I actually like it,'' he says. Then, with a chuckle: ''I know that will end.''
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gotta admit to you guys...
i wasn't really excited about this movie til now. that post gave me chills.
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gotta admit to you guys...
i wasn't really excited about this movie til now. that post gave me chills.
Right, because no article about TWBB should be posted on this site. Goddamn you.
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what? i thought he was being serious.
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It still doesn't feel like something he would do. Neither did PDL, I guess.
I wonder if he will find a way to have his "PTA" comedic scenes in this flick. That could ruin it?
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what? i thought he was being serious.
i was.
firstly, i love that he's so excited about the prospect of doing something totally different. his enthusiasm rubbed off on me. secondly, there's an article in EW. this movie is now officially real. even after seeing the preview and reading other articles, it never felt like the movie was actually happening (and i didn't really like the trailer, an opinion i kept to myself when you guys were jizzing all over yourselves cuz i knew i'd get flamed). now they're actually making an effort to create a buzz in magazines and shit. a new pta movie is coming out. i almost wasn't really giving a shit until now for some reason.
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yeah, i thought so.
and let me be the first to overrate this:
''I'm writing something new now — and I actually like it,'' he says.
there will be who? this new one is where is at. let the madness begin! i hear it'll be scoreless..
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I wanna earn enough money I can get away from everyone! :shock:
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there will be who? this new one is where is at. let the madness begin! i hear it'll be scoreless wordless imageless three hours of humming..
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My apologies then. The comment struck me as very smart-ass. And of course I was eagerly awaiting P's response.
Glad taz is excited about the film.
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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.
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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.
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the guy's name is always The Red Vine.
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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
:yabbse-angry:
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dedicated to squints...
check out cigs 'n reds: http://www.cigarettesandredvines.com/main.php?id=N01 (http://www.cigarettesandredvines.com/main.php?id=N01)
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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.
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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.
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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."
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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!
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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."
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(http://popwatch.ew.com/photos/uncategorized/2007/09/01/ddl_l.jpg)
(http://blog.spout.com.nyud.net/wp-content/uploads/pta1.jpg)
(http://www.blogsmithmedia.com/www.cinematical.com/media/2007/09/day-lewis-anderson.jpg)
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.
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can't. contain.. self...
:yabbse-lipsrsealed:
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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?
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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.
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Teaser Poster. Enjoy.
http://www.aintitcool.com/images2007/twbb1.jpg
admin edit: image replaced with link to make thread readable
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I think that is a really great poster, though I'm not too keen on the tagline.
I wonder when www.paramountvantage.com/blood will go live/what will be on it.
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It looks awesome. Very creative. I see he's going with that olde english font for everything. It reminds me of a cholo tagging a wall.
(http://img181.imageshack.us/img181/4619/twbbposterzl4.jpg)
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I think that is a really great poster, though I'm not too keen on the tagline.
I like it. It's not a general tag line. Tag line and the title are seemingly one sentence on the poster. It gives "There Will Be Blood" a lot more meaning.
The poster is gorgeous. If I like the movie as much as I think I will, I'll buy it for sure. Easily the best poster for any of his films.
Sad to see "P.T. Anderson" is no more. I liked how cute the name was. But like in City of God, Lil' Dice had to grow up to become Lil' Ze. P.T. Anderson is finally Paul Thomas Anderson!
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Rotten Tomatoes has an "exclusive gallery" of two photos. one is new. the other you've seen before but cropped.
http://www.rottentomatoes.com/m/there_will_be_blood/gallery.php?page=1&size=hires&nopop=1
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I think that is a really great poster, though I'm not too keen on the tagline.
Easily the best poster for any of his films.
I thought the theatrical punch-drunk love poster (not that stupid sandler's head shit) was one of the greatest posters ever.
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I wonder if this is legitimately rated R? What I mean by legitimate is did they rate this R just because Anderson said so or because it deserves that rating. Because "Some Violence" doesn't seem warrant an R rating.
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that's all well and excellent, but am i the only one bummed that they changed the title to "Chere Mill Be Blood"?
way to drop the ball, Paul. sheesh.
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You used to be funny
What happened?
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i believe in this gag. :yabbse-sad:
when ambition meets faith: Chere Mill Be Blood.
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I wonder if this is legitimately rated R? What I mean by legitimate is did they rate this R just because Anderson said so or because it deserves that rating. Because "Some Violence" doesn't seem warrant an R rating.
The title alone tells you how violent it will be.
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Isn't it illegal to put the R-rating on the poster if it isn't rated R?
I do believe the MPAA grants something like a pre-approval based on a script and maybe some rough cuts which is subject to change upon viewing the final cut, or if the studio agrees to deliver something that the MPAA would grant an R to (effectively meaning that the director signs an agreement to deliver a movie that would be rated R).
Actually I'm entirely speculating on that. Also ratings have been known to change, even on the posters. I remmeber Princess Mononoke had posters with a PG rating on them, but the movie was officially rated PG-13 upon release, and The Fountain went from R to PG-13 after an appeal.
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i believe in this gag. :yabbse-sad:
when ambition meets faith: Chere Mill Be Blood.
I believe in it too. I LOLed.
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I'm glad to finally see a poster, so I will consider it my birthday gift today. But compared to PTA's other posters, I find it disappointing.
It's too bland when put with the sheer creative designs of the Magnolia frogs poster, or the Punch Drunk Love. It's just text and nothing else to spark interest, which makes it hard to stand out from many other posters. But I'm crossing my fingers for another design.
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Great poster, just this morning I was thinking how long we had to wait since the movie it's three months and change away.
I'm glad that he changed PT for his entire name, sounds better to me.
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its not my favorite, but its not my least favorite. wait, maybe it is. but does anybody else find it weird to see a Miramax logo on a PT poster?
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but does anybody else find it weird to see a Miramax logo on a PT poster?
no, because it's not produced by the weinstein bro's.
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today is a glorious day, children...
http://cigarettesandredvines.com/main.php?id=N01 (http://cigarettesandredvines.com/main.php?id=N01)
now rejoice with me, my xixax brothers.
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Creamed my pants.
Twice.
I'm all dirty and shit.
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"Original Music by Jonny Greenwood"
Was this already known? While I was listening to it in the trailer, it totally sounded like Jon Brion :ponder:
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that was not known. and that is awesome. there are TOO many of my favorites going on with this movie now.
DDL gave me chills in that trailer. "I broke you, and I beat you..."
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I LOVE THIS MAN. :shock:
now, what is the story with jon brion? first fiona ditches him, now paul!
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now, what is the story with jon brion? first fiona ditches him, now paul!
I guess Paul couldn't resist having a radio head.
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"my son is a healer and a vessel for the holy spirit"
(http://i5.photobucket.com/albums/y154/pubrick/vidcaps/ChereMillBeBlood-dano.jpg)
my favourite scene of the movie (so far).
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Oh man, this won't be any less than amazing, and don't know about you but I've seen enough of TWBB, there's no need for any new spoilerful trailers or teasers like all flims do these days.
Edit: Good cap there, and there are plenty more there; mod needs now to update his spoilatar.
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wow.
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incredible.
I wish I had something intelligent and insightful to say, but I'm at a loss.......
not that that's anything new.
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It's like with Darjeeling, it's an old friend you haven't seen in a while and you know it's going to be business as usual, like they never left. But with There Will Be Blood, it's like an old friend who went off to war and now he's back... and you don't know what he's going to be like because he's been in the shit. Is he going to be able to tell you about what he's seen or will he just have a thousand yard stare? You just don't know.
So it looks to me like he's going to tell us so much about what he's seen that WE'RE going to have flashbacks! Blood is back on top again!
When I saw "Original Music by Jonny Greenwood," I swear I started to feel woozy in my chair. So the score to this will actually be Heady instead of Shinny.
(http://i5.photobucket.com/albums/y154/pubrick/vidcaps/ChereMillBeBlood-dano.jpg)
my favourite scene of the movie (so far).
Yeah, seeing that made me do this:
(http://farm2.static.flickr.com/1243/1342345963_6a6fdf972a.jpg)
And wow, Pubrick, you are SERIOUSLY committed to that Chere Mill Be Blood gag.
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i think they took it down. did they take it down?
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They might have.
http://www.comingsoon.net/films.php?id=18237
EDIT: They took the new trailer off of this page too!
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this works too: http://www.askmen.com/flash/videos/swf/sep07_be_blood.swf (http://www.askmen.com/flash/videos/swf/sep07_be_blood.swf)
co-worker just snuck up on me - "why do you keep watching that?"
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its the best. i can't think of many people who will want to see this though.
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music by Jonny Greenwood
:hurl:
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Music By Jonny Greenwood? That's so weird.
I really wanted to hear Jon Brion do music for this type of film, but it'll be interesting to see what Jonny Greenwood can bring.
What teh fuck is going on?
And why can't these assholes put an H in Jonny and Jon like the rest of Johnnys and John.
And Thom Yorke has an extra/unneeded H in his name that he could give away.
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keep our looking ones peeled on this as well....(soon)
http://www.paramountvantage.com/blood/
cjw
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I just got back from 3:10 to Yuma and the TWBB trailer is attached. It was cool to see it in the theater.
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Man, this is going to be badass.
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when they told me 'soon' i didnt think they meant tonight. official twbb site lives..
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QUICKTIME OR DEATH!!!
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somebody's been watching deadwood religiously!
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somebody's been watching deadwood religiously!
Is that a good or bad thing?
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that's very good, that paul thomas anderson has been watching deadwood.
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I've never seen the show. I've heard good and bad things and now I've heard more good things.
That's good.
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I just got back from 3:10 to Yuma and the TWBB trailer is attached. It was cool to see it in the theater.
I saw a Matinee and they didn't show it. What theatre did you go to?
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I just got back from 3:10 to Yuma and the TWBB trailer is attached. It was cool to see it in the theater.
I saw a Matinee and they didn't show it. What theatre did you go to?
It was at a Regal Cinemas theater, next to the trailers for the Alien VS. Predator sequel and Saw 4.
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I want that trailer inside me.
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Honestly.
If you can get "outside" your own "in"sanity, this is a disappointing/yawneresque trailer.
No one would give a damn if it wasn't a Small Bombus Handersand film. Ok, maybe for Daniel a bit, but c'mon man.
Get a hold of yourself. On second thought, let go of yourself.
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Honestly.
...
this is a disappointing/yawneresque trailer.
No one would give a damn if it wasn't a Small Bombus Handersand film. Ok, maybe for Daniel a bit, but c'mon man.
Total.... fucking.... bullshit.
True, this film wouldn't be getting the same kind of pre-release attention/adulation if it were by by, nearly, anyone else... but, c'mon, that's because it's by Paul Thomas Anderson. Whose filmography, if I'm not mistaken, is one of the main reasons this message board began in the first place. A message board that then, and now, expanded to house all kinds of different opinions and tastes, including some less-than-enthusiastic/more critical interpretations of Anderson's work. But, still, PTA is a Lynch-pin director here. Internet communities like this are pretty much started for people to geek out/fetishize/argue their core obsessions so, yes, more people are going to be talking about this film than whatever the fuck Ken Loach is doing next.
But you know what? Even if this wasn't by PTA, it's still a visually stunning and exciting trailer. YOu might be able to argue that, with the exception of a few here, it might be given more slack than anything else that comes out this year, but that doesn't change the fact that the images , music, and dialoue presented here merit any praise and anticipation that comes next.
It's a wonderful promise the same way the trailer for No Country For Old Men is. And, simply from one film fan to another, I'm baffled that any of that could be considered "disappointing/yawneresque".
Really... what would it take to make that exciting to you? Describe it to me, scene-by-scene... because, if it beats that, you should probably be making movies and not making apathetic criticisms on a message board.
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Some comedic banter b/w cheadle and reilly about horses would have made it more exciting to me...
Or a c/u of DDL saying something like, "I'm Daniel Plainview"
Or just some fucked up wavy colors and strange music with intermittent shots of paul dano taking it from behind.
That would be exciting.
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you crazy ho.
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Tanks Bee Diddy
You can sniff me panties anytime
Cept when chere mill be blood
Come over sumtime and I'll show you my trailer...I call her rusty
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Oh, it looks very good... I'm going to stop myself from watching the trailer over and over though - once is enough: I don't want to become so familar with the images that they take on that second-hand quality when I see them in the cinema.
I wonder what, if any, parts of the music in the trailer were Greenwood. I was guessing the very percussive part was his, but then wasn't so sure about the string-orchestrated bit. It's not completely out of left field for him to do this I suppose - remember how crazy PTA was about Bodysong (he was even quoted on the DVD box here in the UK)... It's exciting, though also scary: Brion is the king and truly understands Anderson's style, whereas I don't remember being in love with Bodysong or its music. However, we shall see.
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I wonder what, if any, parts of the music in the trailer were Greenwood. I was guessing the very percussive part was his, but then wasn't so sure about the string-orchestrated bit.
Yes, the percussive song is actually a Greenwood song from the Bodysong soundtrack. The song is called Convergence. I do hope this was just used for the trailer and that it will not end up in the movie. Nevertheless, it is an exciting trailer. I'm very interested to see how the story plays out between DDL and Paul Dano's character.
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Some comedic banter b/w cheadle and reilly about horses would have made it more exciting to me...
Or a c/u of DDL saying something like, "I'm Daniel Plainview"
Or just some fucked up wavy colors and strange music with intermittent shots of paul dano taking it from behind.
That would be exciting.
Alright.
Add some shots of Philip Seymour Hoffman gambling boisterously and I'm in.
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Everyone in this thread... just get a room!
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this reminded me of jean de florette
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when they told me 'soon' i didnt think they meant tonight. official twbb site lives..
really? when i click it i just get
Not Found
The requested URL /blood/ was not found on this server.
Apache/2 Server at www.paramountvantage.com Port 80
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it was up but the links where not working... so i guess they took it down.
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this trailer makes the movie look so fucking cool
I wonder if anybody chuckles at the part where Paul Dano gasps
I know, it's a real reaction that would occur if you got slapped, and it's in the midst of a dramatic/awesome trailer, but it's still almost kinda funny
my favorite shot thus far is DDL in front of the Burning Tower with his back to us, with his hands up like he's conducting the demise of the thing
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Why don't I own this? WHY DON'T I OWN THIS!!?!
Freakin' awesome.
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Why don't I own this? WHY DON'T I OWN THIS!!?!
MacGuffin in a DVD store.
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Why don't I own this? WHY DON'T I OWN THIS!!?!
MacGuffin in a DVD store.
excellent. :yabbse-grin:
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To put this simply. I'm pumped. greenwood will be exquisite, we all know pta wouldn't settle for less. What a huge point in my film life.
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is Dano's character voodoo/fanatical in the book or is that PT's choice?
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is Dano's character voodoo/fanatical in the book or is that PT's choice?
I don't even remember a character like that in the book. There was some conflict in trying to get that certain piece of land but I think DDl's character fixed it pretty quickly. The trailer seems to say that this conflict will be a primary focus. Remember that it has been said that the film is very, very loosely adapted. So yeah, while the idea of a father and son building an oil empire is there, it focused, if I remember correctly, more on the boy growing up.
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It's a big part of the book, although still not as big as it appears to be in the film - the character of Eli is an Evangelical preacher, whose beliefs (and hypcrocrisy) are set into sharp contrast with Bunny (the son's name in the book).
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I'm late to this trailer... so good.
This feels more PT than the teaser we got. I'm getting shivers just thinking about it.
This > Darjeeling
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I'm late to this trailer... so good.
This feels more PT than the teaser we got. I'm getting shivers just thinking about it.
This > Darjeeling
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I remember watching the Magnolia trailer over and over again, just memorizing every part. I used to listen to Momentum on repeat. This trailer has that feel. I never got into PDL too much, it just felt small and a waste of time, but this, THIS is getting me pumped. I feel like a 15 year old kid again.
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I feel like a 15 year old kid again.
Im confused.
Why exactly does watching the CMBB trailer remind you of whacking off repeatedly in the shower because you're getting no play from the 9th grade ladies?
Actually, stay in the shower and give us some quiet time to ourselves.
The thought of that makes me feel like a 38 year old parent again.
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I feel like a 15 year old kid again.
Im confused.
Why exactly does watching the CMBB trailer remind you of whacking off repeatedly in the shower because you're getting no play from the 9th grade ladies?
Actually, stay in the shower and give us some quiet time to ourselves.
The thought of that makes me feel like a 38 year old parent again.
HAHA, what the fuck was that?
Kid, I got almost as much play in 9th grade as your daughter does in 4th. And like your daughter, I had the fullest moustache in the whole school. I used to brush it with one of those switchblade combs you get at the toy stands at the state fair/rodeo.
Back up off me, foo!
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May I call you Jack, Stefen?
Yo, if I had a daughter, and she was in 4th grade, I would surgically fuse her labia shut to protect her from peddies like yourself.
And Foo, when I up on you, you will know this. If nothing else for the intense burning pressure you will feel from the long rod fishing for intelligence in your spleen.
You're a funny kid, Jack. Go watch the trailer again and let me break you off some more later.
:lol:
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This thread = not made for a boy to puff his chest towards a man.
Leave it to the PTA talk and if you wanna act a fool then meet me at the dice game.
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CMBB
that made my day.
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This thread = not made for a boy to puff his chest towards a man.
Leave it to the PTA talk and if you wanna act a fool then meet me at the dice game.
"So you tell me, 'that's that' before I beat the hell from you."
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I feel the only preface we had to this film, stylistically, was in the prologue to MAGNOLIA.
"Green, Berry, Hill...and I am trying to think that this was only a matter of Coincidence."
People in suits, the old days.
Whatev.
Just Excited.
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This thread is boring me. Everyone is replying to nothing. I say this because I feel dumb for continuing to check this and seeing nothing new each time.
Minor suggestion: Have a thread devoted to news of There Will Be Blood and a thread devoted to discussion. If someone discusses in the news thread, shoot them.
When the film is released, delete the news thread and make the discussion one the permanent thread. Or whichever, but there needs to be some separation.
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Oh, one more thing...
I picked up the first There Will Be Blood poster on Ebay.
I'll put it up on the wall straight ahead of my desk where I write. Only time I've bought a poster pre-viewing and only time such a poster got an illustrious place to hang in my apartment.
Fucking eh!
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no i think it'll be fun to keep it all in one thread and see it go over 100 pages (first xixax thread to do so?). as long as ppl aren't posting senseless ish.
ban stefen.
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over 100 pages (first xixax thread to do so?).
there's one over 100. one over 200. and one over 300.
welcome to xixax, btw.
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that was silly of me.
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it would be the first single movie-related thread i think.
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i keep doing the same and hoping there is something new to read... and there isnt. it bothers me, so i keep posting to also annoy others.
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hey, don't do that.
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i keep doing the same and hoping there is something new to read... and there isnt. it bothers me, so i keep posting to also annoy others.
no, we don't need two stefen's thank you very much. i'm kind of a substitute for stefen in case he calls in sick.
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Source: Hollywood Elsewhere
I'm skeptical but at the same time half-persuaded that a special Harry Knowles-orchestrated "secret screening" of Paul Thomas Anderson's There Will Be Blood (Paramount Vantage, 12.26) will be shown soon -- perhaps on Saturday, 9.22 -- at Austin's Alamo Draft House (on South Lamar) as part of Fantastic Fest (9.20 to 9.27). Two sources -- one direct, one second-hand -- funnelled the info. Paramount Vantage reps denied or poured water on the story. Draft House honcho and festival organizer Tim League didn't return calls.
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so its either tonite or there is no Blood screening. fingers crossed for none. :yabbse-grin:
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(http://img230.imageshack.us/img230/7449/fingerxedqu2.jpg)
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It totally played. Goddamn it.
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Here's an article just posted on Variety site:
by Marjorie Baumgarten
The secret closing-night film of Fantastic Fest 3 in Austin, Texas, on Thursday night turned out to be the first public screening of Paul Thomas Anderson's "There Will Be Blood." Certain to be rewarded with year-end accolades, Anderson's film is a true American saga - one that rivals "Giant" and "Citizen Kane" in our popular lore as origin stories about how we came to be the people we are. In "The Treasure of the Sierra Madre," it's not the gold that destroys men's souls but greed; in "There Will Be Blood," the commodity that drives the greed is oil.
Anderson was in attendance and answered a few questions following the screening. The film, which is based on Upton Sinclair's Oil!, really only uses "about the first 150 pages of the novel," according to Anderson. "The book goes on to Hollywood and Washington" and was just too expansive for his purposes, though he said that those opening chapters contained Sinclair's clear descriptions of the workings of the derricks and the precipitous moods that hung over communities that were about to sell their land to the oil prospectors. These are images that are also conveyed vividly in the film. Additionally, Anderson's usual mix of stunning landscape shots and long takes blend with his close-up scrutiny of the hidden meanings of faces and comportment.
*SOME PLOT AND VAGUE ENDING SPOILERS - ALSO SPECIFIC SPOILERS FOR THE FIRST 15 MINUTES*
Daniel Day-Lewis is at his brilliant best as the story's Daniel Plainview, a man whose humanity diminishes as his fortunes increase. Never an exemplar of human kindness, Plainview becomes truly monstrous by film's end. Spanning three decades from 1898 to 1927, the approximately two hour and 40-minute film begins and ends with Plainview as a solitary figure. In fact, the first 15 minutes pass without any dialogue. Community is merely a useful tool for getting what Plainview wants and needs. Another constant nuisance is religion and false piety, represented by the character, Eli Sunday, played by Paul Dano. That the film stars none of the director's recurring repertory of actors is another intriguing element that lends a fresh sense to the undertaking.
*END SPOILERS*
Essential to the success of the movie is the original score by Jonny Greenwood, the Radiohead guitarist and BBC composer in residence. In addition to some uniquely haunting orchestral arrangements, there's this insistent string motif that sounds like the buzzing of an insect inside one's head, a sound that grows louder and more unavoidably distressing whenever soulless events are about to occur. Greenwood's astonishing score is sure to be one of the most remarked-on aspects of the movie.
"There Will Be Blood" was indeed an unusual choice to close out this year's Fantastic Fest, as Alamo Drafthouse Cinema founder and host Tim League was the first to admit. Though the film hardly belongs to the science fiction, fantasy, animation, and crime genres that attendees had been snacking on all week, League attested in his introduction that the film is undeniably "fantastic." League met Anderson this summer when the Drafthouse's Rolling Roadshow hosted an outdoor screening of "Boogie Nights" in the L.A. area and the director made a surprise appearance. The two became fast friends, which led to the Fantastic Fest screening. However, it took Ain't It Cool News' Harry Knowles to point out during the Q&A that Plainview was the "best monster" he had seen all week. Anderson responded that Dracula was in his thoughts as he was writing the screenplay. "There Will Be Blood" indeed.
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Holy Moley.
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Anderson's usual mix of stunning landscape shots
who is she talking about?
and it's gonna hard to top gems like this for hype:
Anderson's film is a true American saga - one that rivals "Giant" and "Citizen Kane" in our popular lore as origin stories about how we came to be the people we are.
that's about the greatest thing you could say about a movie besides making a cool sig out of its title.
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Source: Hollywood Elsewhere
(http://hollywood-elsewhere.com/images/column/10107/danblood.jpg)
*READ AT OWN RISK*
HE reader Dan Brown saw Paul Thomas Anderson's There Will Be Blood at Austin's Fantastic Fest last night, and his first reaction is that Daniel Day Lewis will indeed get an Best Actor Oscar nomination. "The film really belongs to Lewis," he says. "He commands every frame he's in and is a pleasure to watch. It's a great character and he really sinks his teeth into it."
Which is an apt phrase given that Anderson, who attended the screening and sat for a q & a session afterwards, said "he was thinking of Dracula" when he wrote Lewis's character.
"The film is an awesome achievement," says Brown, "and a great step forward for Anderson. A lot of the criticism being directed at Wes Anderson lately does not apply to this Anderson, who is clearly moving in different directions with each new film but still has a strong visual style.
"I know the film won't be well received by everyone. The two and a half-hour running time might be off-putting for Middle American styrofoams but I was really into the movie right from the start." The most interesting sounding aspect, he adds, is that "the first 15 to 18 minutes of the film are dialogue-free."
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Anderson's usual mix of stunning landscape shots
who is she talking about?
This is a clear reference to Dirk Diggler's penis.
There will be some true excitement from now until the day I will finally get to see this.
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the first 15 mins sound very Leone inspired - a la Once Upon a Time in the West - sound wise...and fly wise.
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HOLY SHIT!
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Tall shoes to fill after those comparisons. Please live up to them!
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What's this?
Why can't I see this?
Why can't I SEE THIS?
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Fantastic Fest Review: There Will Be Blood
Source: Scott Weinberg; Cinematical
*READ AT OWN BLA-BLA-BLA*
Oh sure, we've got Paul Thomas Anderson all figured out by now. After four very fine films -- Hard Eight, Boogie Nights, Magnolia and Punch-Drunk Love -- we've surely got the filmmaker's number by now: He makes strangely sweet and slyly witty ensemble pieces, right? So then what's he doing making an adaptation of Upton Sinclair's massive tome Oil!? A straight-faced period piece in which the most recognizable names are Daniel Day-Lewis and Paul Dano? This is not what we've come to expect from good ol' Paul T. Anderson!
And I suppose that's what makes the director's There Will Be Blood such a stunning surprise. It's more than a "departure" for the director; it's a monumental display of "evolution" that'll wow the established fans and impress a helluva lot more new ones. This is a dark, compelling and effortlessly engrossing film, one bolstered by a lead performance that ranks among the very best of Lewis' impressive career.
The film will most often be compared to Orson Welles' Citizen Kane, so I guess I can get the ball rolling on that particular crutch -- but it's also an apt comparison. Which is not to say that There Will Be Blood will necessarily be dissected and revered 75 years from now, but the stories are certainly similar enough. Anderson's film opens with a long passage of dialog-free footage: A lone man hacks his way through a mine using a pick-ax and some dynamite. The year is 1898, and Daniel Planview is about to become an oil man. We witness the man's unwavering resolve as he pulls himself from a vertical shaft after breaking his leg in a fall -- and if you think that accomplishment displayed some tenacity ... just wait.
The 160-minute film covers Plainview's journey from rock-scratcher to oil tycoon as it runs over the course of 29 years. And while it might come as no surprise to learn that Plainview loses more of his soul with every package of professional success, the way in which this potentially predictable story unfolds is nothing short of hypnotic. Although our hero(?) struggles through numerous adversities and obstacles, his main combatant comes in the form of a young preacher named Eli Sunday. The young man seems to be well-aware of Plainview's rather mercenary approach to the oil game, so when the two butt heads over the oil beneath the Sundays' soil -- their battle of wills becomes some sort of epic clash: The rise of wealth and industry versus the sanctity of religion and faith.
Only ... the wealthy industrialist is kind of a crook -- and the preacher is sort of a schemer. So already we're dealing with conflicts, contradictions and a supremely satisfying sense of ambiguity. We should be rooting against the businessman, but we don't. And although it seems logical to side with the aspiring young preacher, there's something about the kid we just don't like. So what I'm basically saying is this: There Will Be Blood boasts one hell of a fantastic screenplay.
And gosh what a beautiful film to look at. The turn-of-the-century Texas landscape has rarely looked this, well, real, and Anderson paints his canvas with some masterful strokes. The establishing shot that introduces the central town is nothing short of stunning, and there are numerous sequences that simply dazzle the eye. Cinematographer Robert Elswit -- a frequent PTA collaborator -- should be preparing his "it's an honor just to be nominated" speech right now. And the musical score by Radiohead guitarist Jonny Greenwood is more than a separate character in the film; the stunning score feels more like an aural Greek chorus.
Which brings us to the lead performance by the force of nature known as Daniel Day Lewis. One could cal his Plainview a cross between Charles Foster Kane and Al Swearengen: Driven to succeed, willing to cast aside anyone who becomes a liability, brutal yet human, undeniable nasty yet somehow worthy of some empathy. And Mr. Lewis delivers an anchor of a performance that's as multi-faceted as it is simply plain old entertaining. And I hate to overuse the Oscar predictions, but if there's a better 2007 lead performance ... I'd simply love to see it.
Easily one of the year's best films (so far), There Will Be Blood presents a side of Paul Thomas Anderson that we haven't really seen yet -- but it's proof positive that he's still one of the finest directors out there right now. You probably won't believe that this film came from the same man who directed (the awesome) Boogie Nights, and I mean that as a big compliment. It's just that different -- and just that damned good.
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stop saying CITIZEN KANE!!!
i am going to have a heart attack.
one of the year's best films (so far)
haha,.
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How spoilerish is Macs last post? Are we talking ugly lady turns out to be a cute dude, or Episode I flatulence?
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Fantastic Fest: There Will Be Blood
Source: Matt Dentler; indieWIRE
Paul Thomas Anderson's epic There Will Be Blood had its first public screening tonight as the Closing Night Film (and as a super secret screening) of Fantastic Fest 2007. Make no mistake, this is an amazing work of art. As one of the Fantastic Fest programmers, I've known this film was coming our way for a while now, so don't chalk this up to sheer surprise or excitement or bias: There Will Be Blood is one of the best films of the year. Daniel Day-Lewis is obviously a major component of it, but Anderson's poetic treatment of the material cannot be dismissed. Plus, in a pleasant turn of events, co-star Paul Dano delivers a delicious and demented performance that could earn some serious award consideration a few months from now. God Bless P.T. Anderson, for making his fifth consecutive slam dunk. I'm just so stunned and impressed and shaken by this film.
More on the film (and the final days of Fantastic Fest) tomorrow... time for some sleep...
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I can't keep reading this thread AND be expected to continue with my everyday life until this comes out.
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I was kind of indifferent to this flick until yesterday when all these reports started coming out. It's starting to sound like the GOAT.
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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.
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RK, were you at Butt-numb-athon when Magnolia played? At least I think it played at one of them before it's release.
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It totally played. Goddamn it.
(http://img223.imageshack.us/img223/4494/pozerfliprk5.jpg)
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Fantastic Fest: There Will Be Blood
Source: Matt Dentler; indieWIRE
There Will Be Spoilers...
(http://blogs.indiewire.com/mattdentler/archives/FANTASTICpta.jpg)
For the first 15 minutes or so, there is no dialogue. Just men at work, and a swelling violin by Radiohead's Jonny Greenwood. And then, oil! Before long, Day-Lewis' Daniel Plainview is doing what he can to uncover more of it, at any price. This leads to the discovery of a small community sitting "on an ocean of oil." Plainview sets up shop, but ends up warring against Dano's Eli Sunday, a young evangelist out to preach God's will and save souls. It soon becomes a battle between the two enterprising men, and each actor explodes with charisma and terror. Anderson is the architect of some great American stories, and this is one of his finest. Loosely based on Upton Sinclair's book, Oil!, the film is all Anderson. There are flourishes of Stanley Kubrick, Terrence Malick, and Robert Altman (to whom the film is dedicated) but Anderson steps up his game as a master filmmaker beautifully telling a very scary story.
It was a great way to end the third annual Fantastic Fest. I think it was a great year. And, at the Closing Night Party, fellow organizers Tim League and Harry Knowles both looked at me and we just had a moment of pride. Here are some pictures I took in the final few days
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HAHAHA it just doesn't stop!
PTA = mix between Kubrick, Malick, and Altman.
Oh, please do not set me up to be let down!!!!
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i have never been more excited to see a film.
and not to wish ill of my fellow xixaxers but i would die of jealousy if one of you made it to this screening.
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PTA = mix between Kubrick, Malick, and Altman.
I kinda cringed when I read that. I understand Malick and even Altman to a certain degree, but people name drop Kubrick all the time for films he has no reason to be associated with. I'm not saying PTA couldn't utilize him, but I'll have to wait and see. It's a tough thing to pull off.
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besides what p quoted earlier, this is my favorite thing said about it so far:
*1st shot spoiler tho*
And gosh what a beautiful film to look at. The turn-of-the-century Texas landscape has rarely looked this, well, real, and Anderson paints his canvas with some masterful strokes. The establishing shot that introduces the central town is nothing short of stunning, and there are numerous sequences that simply dazzle the eye. Cinematographer Robert Elswit -- a frequent PTA collaborator -- should be preparing his "it's an honor just to be nominated" speech right now. And the musical score by Radiohead guitarist Jonny Greenwood is more than a separate character in the film; the stunning score feels more like an aural Greek chorus.
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One thing is for sure, we can cancel next year's xaxies because CMBB will take EVERYTHING.
Also, I won't read any articles/reviews until late december.
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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.
Which is ironic because when I posted the rumor I mainly did it for you, thinking if anyone would go it would be you.
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so if this is ready now, the wait is purely for awards purposes?
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mother of god. i'm scared to open this thread now. the anticipation is turning into an anxious 'i want it NOW' kind of feeling.
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this is unbelievable.
one of the year's best films (so far)
best "(so far)" ever. (so far).
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so if this is ready now, the wait is purely for awards purposes?
The studios want to promote a Paul WS Anderson vs Paul Thomas Anderson Christmas smackdown.
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There Will Be Blood
Bottom Line: Daniel Day-Lewis stuns in Paul Thomas Anderson's saga of a soul-dead oil man.
By John DeFore; Hollywood Reporter
Oct 1, 2007
*READ - RISK*
Fantastic Fest
AUSTIN -- Both an epic and a miniature, Paul Thomas Anderson's "There Will Be Blood" uses the fewest possible brush strokes, spread across a vast canvas, to paint a portrait of greed at the beginning of the American century. Built around another powerhouse performance by Daniel Day-Lewis, it's a certain awards contender and will be a strong draw for serious moviegoers.
Partially shot in Marfa, Texas, and stretching across three decades -- just enough time for an infant to rise up and defy his father -- it begs comparison to another Marfa production, "Giant." "Blood" has none of that film's melodramatic sprawl, though. Instead, it pares allegory-friendly material down to the elementals. It shows not the birth of the American oil business but the origin of a certain kind of oil man -- self-made, hands-on, destined for great wealth but doomed to not enjoy it -- then pits this capitalistic force of nature against its Bible-thumping mirror image, hinting at the culture-shaping sibling rivalry between the influence of God and of Mammon in America.
Day-Lewis plays Daniel Plainview, a prospector introduced in a wordless sequence showing his progression from heavy-bearded miner to civilized man with prospects: In the entire first reel, the only dialogue we hear is a muttered "there she is" as Plainview finds his buried treasure. The soundtrack is dominated by wilding clouds of strings that bestow on petroleum the mysterious power of Stanley Kubrick's famous obelisk.
That music, by Radiohead guitarist Jonny Greenwood, is captivating and sometimes intense, greatly contributing to the sense that tectonic forces lie beneath the drama.
The film then makes up for lost time as Plainview addresses a gathering of country landowners in hopes of talking his way onto their property. In Day-Lewis' hands, the spiel becomes a John Huston-ish seduction, a velvet rumble about how qualified he is to suck oil from their dirt and transmute it to wealth for them and their children. When his listeners hesitate before taking the bait, Plainview refuses them a second chance, moving briskly to the next-best prospect. Eventually, he lands a territory with vast, empire-building potential, and the film settles down there, watching him struggle to exploit the discovery.
The film isn't as bloody as its title suggests, but from the start it makes the most of what violence it contains. The dangers of digging for oil are starkly depicted, and at one point -- during a hair-raising sequence in which a just-struck gusher catches fire -- Plainview's young adopted son takes a fall that costs him his hearing.
That loss and a more mysterious family matter are all we see of Plainview's personal life; he seemingly exists to do nothing but find and sell oil. An obstacle arrives in the person of Paul Dano's Eli Sunday, a self-styled man of God hoping to funnel as much as possible of his congregation's impending wealth into glorifying the Almighty. Barely old enough to shave, Sunday spellbinds listeners with frenzied exorcisms and threatens to steer his flock away from the man who needs their land.
Director Anderson's critics might not know what to do with this picture, which has none of the attention-grabbing flourishes of earlier films -- no hailstorms of frogs or deus ex machina pianos here. The closest it gets to self-conscious showiness is its closing scene, a confrontation as memorably strange as the fireworks-popping, "Jessie's Girl"-belting drug deal in "Boogie Nights." Its setting is as visually spare (a highlight of Jack Fisk's brilliant production design) as the other was decadent and cluttered, and eventually the scene makes good on the title's promise -- but only after offering a virtuoso humiliation to mirror one Plainview suffers earlier in the story.
Even here, though, what could be mere showboating serves as the last step on the path "Blood" started out on: drawing us slowly and with steadily increasing horror into the bitter worldview of a man whose name suggests he sees the world for what it is.
THERE WILL BE BLOOD
Paramount Vantage
Ghoulardi Film Co./Paramount Vantage/Miramax Films/Scott Rudin Prods.
Credits:
Director-screenwriter: Paul Thomas Anderson
Based on the novel by: Upton Sinclair
Producers: Paul Thomas Anderson, Daniel Lupi, Joanne Sellar
Executive producers: Scott Rudin, Eric Schlosser
Director of photography: Robert Elswit
Production designer: Jack Fisk
Music: Jonny Greenwood
Costume designer: Mark Bridges
Editors: Tatiana S. Riegel, Dylan Tichenor
Cast:
Daniel Plainview: Daniel Day-Lewis
Eli Sunday: Paul Dano
H.W.: Dillion Freasier
Fletcher Hamilton: Ciaran Hinds
Running time -- 158 minutes
MPAA rating: R
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no hailstorms of frogs or deus ex machina pianos here
it's a harmonium.
and i strongly urge everyone to avoid the above article because it is ALL SPOILERS, huge ones, specific ones about the final minutes of the movie. it even ends with the credits, like you've just seen the movie. it really pisses me off now when ppl can't review things without giving everything away. especially a movie that isn't out yet, why talk about specific scenes or the ending of the movie?? complete asshole behaviour.
years of reading the Lost thread without actually reading anything has helped me develop voluntary amnesia. unless you can master this weird form of senility, do not attempt to navigate past the spoiler warnings.
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We need to nominate someone to be a xixax guinea pig. Someone who's, I don't want to say dumb, but not so bright, so spoilers won't bother them, but they can distinguish spoilers from non spoilers and warn us all for situations like this.
I nominate Kal.
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(http://a330.g.akamai.net/7/330/23382/20070928062713/www.variety.com/graphics/photos/featuredstories/fss_therewillbeblood.jpg)
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Harry says Paul Thomas Anderson's THERE WILL BE BLOOD is a brilliant, masterful film! Daniel Day Lewis owns this year's Oscar!
Source: AICN
As one of the programmers of FANTASTIC FEST, working hand in hand with Tim League, Matt Dentler and all the others – it's not often when you know you’ve hit the jackpot. About 3 weeks ago, we realized that we were going to be the first place on Planet Earth to screen THERE WILL BE BLOOD, based upon Upton Sinclair’s novel OIL! and adapted for the screen by Paul Thomas Anderson.
As a genre festival – it didn’t entirely seem appropriate that the film would play, but Tim, Dentler and I discussed – at length – what this festival means to us. The tag line, “A Film Festival With The Boring Parts Cut Out” was coined by me. Our goal is to create a film festival made up of fantastic experiences, fantastic screenings and fantastic guests. Playing a film like PERSEPOLIS – an animated tale about growing up during the last 30 or so years in Iran… Doesn’t necessarily fit, but the film is FANTASTIC.
However, as I watched THERE WILL BE BLOOD last night for the very first time – I realized that to me, THERE WILL BE BLOOD embodies everything that I want from a film at Fantastic Fest. This is a film about the dark places in men’s souls. It is a film at the highest possible quality – comparable to many of my favorite films of all time. Movies about monsters on quests like CITIZEN KANE, TREASURE OF SIERRE MADRE, GONE WITH THE WIND, GIANT, OLDBOY, THE GODFATHER and TAXI DRIVER.
When Upton Sinclair wrote OIL! – it was when he discovered how greed can destroy a community, here – PTA has created a masterpiece.
*BEGIN SPOILERS*
It begins simply – a lone man, digging down. Swinging his sparking pick-axe carving with a desperate drive to find gold. He places a stick of dynamite into a crack he made – lights it and gets out of the hole, trying desperately to pull his tools up with him. The blast goes off – he anxiously tries to make his way into the hole, only to fall and break his leg. There – at the bottom of this man made pit – he finds some gold. He stuffs some of the ore into his shirt and begins the desperate one legged climb out of the hole – pushing himself on his back, to where? We cut to him laying on his back inside a building where he’s selling his ore – it’s 1897 and he just made $347.
Next we cut back to the same hole – this time he has men working with him. This time, it’s a few years later – and they’re digging, by hand… for oil. Daniel Day Lewis’ character of Daniel Plainview is there in the pit – alongside another man digging – when the rigging above falls killing the other man. Daniel now has a son, his partner’s son. Shortly after, they strike oil. It’s hauled up by buckets. The buckets poured into a pool up on the surface to be placed in barrels for sale.
Through all of this – the men do not speak, they’re working with a determination. There is a drive in Daniel Plainview that is evident – he is not afraid of hard labor or pain. This is a man that will claim his fortune from the Earth. He will dig and claim it as his own. Like Dobbs or Scarlett O’Hara – he will never go hungry again. He’s been there and he will not go back.
We cut to a few years later – his adopted son and Daniel are dressed nicely addressing a community that has had a well come in. He’s working to gain their trust to allow him to develop the strike – the community is too excitable – each neighbor making demands, a cacophony of greed – Daniel leaves telling them, he would not develop their claim even if they gave it to him as a gift. This community had turned to wolves, and he is looking for sheep.
Daniel has one strong strike that’s paying him $5,000 a week in Oil production. But it is not enough for this man. He has a competition in him. He is driven to succeed without parallel. He begrudges paying for shipping, he begrudges the land owners that sit upon gold that they are not willing to work for to mine. HE made his wealth with his own hands – and if these people are too complacent, too lazy and too ignorant to work for their own riches – why should he hand them to them?
The contempt for humanity is palpable. In many ways the film, above all others, that this film reminds me of is Billy Wilder’s brilliant ACE IN THE HOLE (aka THE BIG CARNIVAL) – as it happens, earlier this day I was watching this classic Kirk Douglas movie on TCM – it seems the movie gods were smiling upon me – to make the comparison so ready, willing and available. In that film, Kirk Douglas is a man that is determined, no matter what, to use men as he saw fit to get his way back to the top. His actions are pre-meditated and cruel. He twists people, playing on their greed, fears and hopes to orchestrate his own success.
Daniel Plainview is of the same cloth. He’s a man that believes in revenge, that gives into anger and allows it to drive his success. He sees the world as a hard bitter cruel place where you have to be hard bitter and cruel to succeed. The only other person on the planet he loves is his son – but even there, he uses the image of his son to just gain the trust of others. He needs them to see him as a family man, because it’s easier to trust a family man.
His every action is premeditated.
That said – he is always ever that man we saw at the beginning of the film pounding his fortune out by his own blood, sweat and tears. As Plainview is clued into a community sitting upon an “ocean of oil” he sees his chance to be everything he’s ever wanted to be. A powerful man, a rich man – a man dependent upon no man. A chance to be independent, wealthy and successful.
This community has been untapped. He is the sole wolf hunting this community of sheep. He clues his son in on it all. Teaching him how to be as cut-throat as he. The film that follows exposes the greed of a “prophet” played by Paul Dano with the exact right level of Elmer Gantry-ism. You can see the ambition he has. The profit of being a prophet. More than that – you can see the contempt that Plainview has for what he considers a sly con man.
As tragedy hits Daniel’s life, as obstacles come, he brushes them to the side – it’s important that he win. He has to tie up the entire community to own the ocean of oil beneath it – then he needs to tie up the land he needs to build a pipeline.
What is it that makes this film utterly brilliant?
Well – as with all fantastic movies – it’s a combination of talents rising to the occasion.
First and foremost is Paul Thomas Anderson. He set out to make a film like TREASURE OF SIERRE MADRE – and he did. His decisions with sound, image, dialogue and direction were all absolutely masterful. I know that’s easy to say, but his work here is just perfect. Like – at this one moment when two characters are brought back together after an amazingly bombastic scene… he serves it all in long shot – just hearing the voices. Not giving us the typical close-ups – rather letting us distill the emotion from the voice of Daniel Day Lewis in the scene. It’s incredibly powerful.
Did I mention Daniel Day Lewis? The man is in nearly every scene in the film. It is a legendary performance. Iconic and powerful. It is his absolute best work, which is saying something as he has never ever been anything other than great. Here though – he’s given a role that every great actor waits patiently for. Like Bogart and Dobbs. Like Brando and The Godfather. Like DeNiro with Raging Bull. Here you have an actor so alive, so vital and so naturally bigger than life that I was left in awe of the performance. This is not just the best performance of the year to date, but one of the great performance period.
Robert Elswit's photography is breathtaking. Amongst my favorite aspects of the film is the score, which was brilliantly created by Radiohead's Jonny Greenwood. The score is a direct echo of Daniel Plainview's soul... At times classical- quaint, at other times experimental and atonal - symbolizing the noise in his soul or echoing the pounding of the drilling for oil. The score and the use of it added towards the intensity of the experience.
A fellow critic at the screening began comparing the film to CITIZEN KANE, GIANT and other classics – it was nice to read that – because it meant I wasn’t the only one thinking that.
This film doesn’t hit till late December – but I’m telling you – when it does, hold on to your hat. It’s a gusher!
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shiver mee timbers!
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I can't keep reading this thread AND be expected to continue with my everyday life until this comes out.
yeah, i'm not gonna get anything done in the next few months.
Movies about monsters on quests like .... GONE WITH THE WIND
scarlett o'hara?
It’s a gusher!
tiana lynn?
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I'm gonna share a sad moment of my pathetic little life for your reading and entertainment pleasure:
Last night, I had a dream. And I'm someone who never, I repeat, never remembers his dreams. But last night, I dreamed the tatle of this damn movie was changed because it was considerer inapropriate, so they changed it into something more generic (which I don't really remember, but it sucked). Jesus Christ, I mean, what the fuck is this? A dream about a title change in a movie? I really need to get a life...
I can still see the image of the poster with the new words in it in my dream... sad sad sad...
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We need to nominate someone to be a xixax guinea pig. Someone who's, I don't want to say dumb, but not
how about someone who has already read the script and therefore can go through the article and just give us nicely edited bits of non-spoiler passages?
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We need to nominate someone to be a xixax guinea pig. Someone who's, I don't want to say dumb, but not
how about someone who has already read the script and therefore can go through the article and just give us nicely edited bits of non-spoiler passages?
Macs doing an excellent job.
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(http://www.hollywood-elsewhere.com/images/column/10107/ptaaustin.jpg)
George Hickenlooper (r.) and Paul Thomas Anderson (l.) at the Alamo Draft House in Austin last Thursday night after that already-fabled screening of There Will Be Blood. Hickenlooper had just come from an adjacent-theater screening of Mayor of the Sunset Strip. Sissy Spacek joined them soon after and, says Hickenlooper, "kept telling me how it was one of the most extraordinary films she had ever seen...she seemed completely blown away by it." Spacek has been married to Blood's production designer Jack Fisk since 1974.
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almost 3 freaking months... :(
(if someone goes to a Q&A screening please ask if there is actual Radiohead video footage for We Suck Young Blood).
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I'm afraid not...
Cigs and red vines interview with PTA in 2005:
With Jeff and myself both being big Radiohead fans, we've heard rumblings about a Lumiere music video for "We Suck Young Blood" shot in studio with them during their recording sessions for Hail To The Thief. What was the video like, how did it come about and will it ever see the light of day?
I'm sorry to say that it doesn't exist. I visited them one day in the studio and brought an old Lumiere camera down to play with - but we never shot anything. That would have been great and should happen someday. If you listen to that song, it would fit nicely with that Nosferatu-feeling you can get with that particular camera -- that song has dracula written all over it.
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hasn't this has been pointed out several times in recent months?
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hasn't this has been pointed out several times in recent months?
Yes, and it's always in response to Big Ideas asking the same question and getting it answered the same way EVERY TIME.
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hasn't this has been pointed out several times in recent months?
Yes, and it's always in response to Big Ideas asking the same question and getting it answered the same way EVERY TIME.
you're partly correct. this is the first time that my question has been answered with a direct quote from Paul saying that it does not exist. everything else has been quotes where the actual existence was left up in the air - probably the same quotes that led to this being asked to Paul in the first place.
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It's all good.
Which one do you want me to use when you ask the question again?
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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
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We need to nominate someone to be a xixax guinea pig. Someone who's, I don't want to say dumb, but not
how about someone who has already read the script and therefore can go through the article and just give us nicely edited bits of non-spoiler passages?
stuff like this is all i need to see:
Did I mention Daniel Day Lewis? The man is in nearly every scene in the film. It is a legendary performance. Iconic and powerful. It is his absolute best work, which is saying something as he has never ever been anything other than great. Here though – he’s given a role that every great actor waits patiently for. Like Bogart and Dobbs. Like Brando and The Godfather. Like DeNiro with Raging Bull. Here you have an actor so alive, so vital and so naturally bigger than life that I was left in awe of the performance. This is not just the best performance of the year to date, but one of the great performance period.
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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.
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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.
:yabbse-sad:
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.
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Hey Pozer, how about you find a quote from the dude who married that girl I never got with in High School too?
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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!
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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*
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Source: cig & red vines
(http://a3.vox.com/6a00e3989c64e5000100e398ae32030003-pi)
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
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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.
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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..
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11:13-11:17
... i thought he was talking about drac
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he says "especially at the end ____________________" and describes an image from the end.
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(http://theenvelope.latimes.com/media/photo/2007-10/32976879.jpg)
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.
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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
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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."
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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.
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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!
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i'm just thankful i keep getting to this thread after everyone else so i have remained entirely unspoiled, (even on the video q&a)! thanks fellow admins. :bravo:
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I never realized how eccentric Paul was. It's almost hard to believe he's a director when you watch him try to answer interview questions. It's like he's so bashful when put on the spot. Which is interesting because that obviously doesn't carry-over to when he's on set. I can totally relate, so it's actually inspirational that you can have those personality traits and still be a talented director.
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PTA: Still not overrated.
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everyone has said the same but man, im trully creaming my pants over this fucking movie. and pretty much everyone i ask agrees. this looks like a masterpiece.
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It's like he's so bashful when put on the spot. Which is interesting because that obviously doesn't carry-over to when he's on set. I can totally relate, so it's actually inspirational that you can have those personality traits and still be a talented director.
i hate to burst your bubble, but that guy is not bashful. why would he say something like "i wouldnt want to take up too much of your time after 2 1/2 hours, that would be horrible?" what, he doesnt believe in his own movie? what, he doesnt think this audience that came to an advanced screening with q&a are interested in hearing him talk on and on?
kinda like when i said "i hate to burst your bubble but..." its bullshit people say to other people to make them believe their intentions are noble.
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QUICKTIME OR DEATH!!!
http://www.sliated.com/trailers/blood.mp4
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has anyone checked out this site (http://www.vantageguilds.com/twbb/index.html)? who wants to call the rsvp number(s) under the "screenings" section and see what they're all about?
EDIT: i called. you have to be a guild member to rsvp for a twbb screening.
HOW DO I BECOME A GUILD MEMBER?
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QUICKTIME OR DEATH!!!
http://www.sliated.com/trailers/blood.mp4
Awesome.
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QUICKTIME OR DEATH!!!
http://www.sliated.com/trailers/blood.mp4
Quicktime HD 1080p or DEATH!
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:multi: this is the one ive been waiting for. i recall it was described as featuring the upper portion of DDL looking mean and covered in oil or something...
from ci&re:
Monday, October 15th.
new poster
As we had tipped off to us ages ago (i’d find it but this is my first attempt to post to the site from my crackberry like a real pretentious asshole - both of our laptops are at the doctors)– there is a poster that has been shipped to all theatres featuring daniel day lewis’s head. We don’t have a photo yet but the description of it is in a previous post someplace (as mentioned above) sent to us from a whispery paramount-er. Thanks to our projectionist pal for tipping us off and thanks to jeff for doing wonderful posts during my bend trip. And thanks to all the Bend people for a lovely event. (Especially the fellow who asked me why we hadn’t posted that wes and pt co-wrote bottle rocket and were brothers in real life)
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lol@Wes and PTA being brothers in real life. If that happened, all the talent would have gone to PTA and Wes would have been stuck being a tutor to foreign exchange students who are trying to learn english and American customs. He'd be living in a crappy apartment, eating TV dinners and writing reviews on xixax on shitty weekday CBS sitcoms.
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:multi: this is the one ive been waiting for. i recall it was described as featuring the upper portion of DDL looking mean and covered in oil or something...
from ("please keep my name anonymous so i don't lose my job") "i was delivering an envelope to an office on a studio lot in LA. on my way out my eye caught a black & white poster sized image of Daniel Day Lewis's face and shoulders, covered with oil and looking scarier than scary. In big black font the poster read "There Will Be Blood". Like i mentioned, quasi news. i've been kind of geeking out since i saw it and wanted to share with people who were down."
holy fuck.
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this must be what he saw.
(http://i5.photobucket.com/albums/y154/pubrick/JRCMBB.jpg)
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holy fuck.
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DDL is a god among vietnam vets.
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I've been holding out on buying the teaser poster for this very reason. I'm predicting brilliance here.
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Here's what I've found.
(http://i2.ebayimg.com/08/i/000/bd/b7/0239_1.JPG)
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god i hope that a fake. if its not its the first evidence that PT will not be involved in all marketing materials as in films past.
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DDL looks like he's pooping. Oil.
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From that angle he looks like Seth Bullock from Deadwood.
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god i hope that a fake. if its not its the first evidence that PT will not be involved in all marketing materials as in films past.
That looks like the kinda thing he'd do, actually. Kinda like the PDL dvd slipcase. I like the stark simplicity of it.
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Ugh. Can he at least put a hidden cross in the corner?
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If that's real, I think I'll stick with my advance one sheet. Disappointing ... :yabbse-thumbdown:
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god i hope that a fake. if its not its the first evidence that PT will not be involved in all marketing materials as in films past.
That looks like the kinda thing he'd do, actually. Kinda like the PDL dvd slipcase. I like the stark simplicity of it.
i was actually hoping for something more like the PDL DVD cover. white bg with a mean sonuvabitch DDL looking straight forward covered in oil with chere mill be blood title below.
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(http://i2.ebayimg.com/08/i/000/bd/b7/0239_1.JPG)
ditto that, pozer. its just not a very dynamic shot. :yabbse-thumbdown:
i still don't believe it's real.
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The script is now up at Cigs and Red Vines...
Must. Not. Read. Must. Not. Read.
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How current is it?
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DDL is not covered in oil or looking scarier than scary. or scary. the projectionist should confirm this isn't the one he saw.
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I think having him "covered in oil" is what we call "on the nose" aka :yabbse-thumbdown: I'll applaud this one instead :bravo:
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that's just about the worst poster i ever saw. even his tie wants to hide away in shame.
this just went from most anticipated film to LEAST. call me when they get rid of the score.
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John Rambo >>>> There Will Be Blood. And it's not even close.
They should really look into swapping titles.
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I saw the poster at the arclight in hollywood when I saw Michael Clayton the second time. It looks pretty decent to me. Still excited.
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So that IS the poster? And not just some cruel joke by some dickhead? :yabbse-thumbdown:
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You are correct. The picture of the poster you see above, is actually it.
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covered with oil and looking scarier than scary
WTF
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Ugh. Trying to stay positive.
You know, that's just a PICTURE of the poster, and it's at an angle. Maybe in real-life it's in 3D.
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The script is now up at Cigs and Red Vines...
Must. Not. Read. Must. Not. Read.
they took it down. imagine that paul & co. did not want every fanboy having access to it.
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well it's here http://www.vantageguilds.com/twbb/FinalScript_TWBB.pdf (http://www.vantageguilds.com/twbb/FinalScript_TWBB.pdf) but nobody read it.
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Now, if only the poster looked like the soundtrack cover... Beautiful
(http://ecx.images-amazon.com/images/I/51w9c0MFk2L._SS500_.jpg)
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From Amazon: Guitarist Jonny Greenwood has composed a hauntingly dramatic instrumental score for Oscar nominated writer-director
Paul Thomas Anderson s ambitious new film, There Will Be Blood. An adaptation of the Upton Sinclair novel Oil!, the movie features
Daniel Day-Lewis in what The Hollywood Reporter has described as a powerhouse performance... it s a certain awards contender.
Greenwood s remarkable compositions, written primarily for strings, have already garnered considerable praise in advance reviews.
The score resembles his rock compositions only in the level of daring and inventiveness to be found throughout these tracks and in the unsettling atmosphere he is able to conjure at key moments. Greenwood s score is more indicative of his current collaborations with the BBC Orchestra as Composer In Residence activities closely followed by Pitchfork Media and The Daily Swarm.
In fact, the score incorporates material from two orchestral pieces he created in that position, smear and Popcorn Superhet Receiver,
which will have its U.S. concert premiere this January when Greenwood appears at the Wordless Music Series in New York City.
There Will Be Blood takes Anderson in a radically different direction than his celebrated earlier films, Boogie Nights and Magnolia dazzling, attention-grabbing movies marked by multiple plot lines, ensemble casts and surreal visual elements. His last project,Punch Drunk Love, was a sophisticated comedy-drama with a smart pop score by composer-producer Jon Brion, released on
Nonesuch in 2002. Anderson s new work is a stark period piece filmed on arid Texas plains; critics have likened it to the brilliantly austere work of such revered directors as Stanley Kubrick and Terence Malick (Days Of Heaven). The Hollywood Reporter called Greenwood s score captivating...greatly contributing to the sense that tectonic forces lie beneath the drama.
The soundtrack to There Will Be Blood will appeal to serious movie-music fans, who will appreciate this rare find: an intelligent, beautiful
and deeply cinematic orchestrated score performed by the BBC Orchestra and London Sinfonietta that can hold its own next to the classic work of such composers as Bernard Herrman, Elmer Bernstein and Ennio Morricone.
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Download Smear (track 10) here ---------> http://www.mediafire.com/?4pc00mmnrnu
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I read it.
That ending.
Fuck.
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(http://www.xixax.com/images/twbb_poster.jpg)
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damn, he looks so fucking constipated
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Looking at that better image of the poster, I don't hate it quite so much now. But it's far from the "brilliance" I was expecting.
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damn, he looks so fucking constipated
now i get the title!
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"The soundtrack to There Will Be Blood will appeal to serious movie-music fans, who will appreciate this rare find: an intelligent, beautiful
and deeply cinematic orchestrated score performed by the BBC Orchestra and London Sinfonietta that can hold its own next to the classic work of such composers as Bernard Herrman, Elmer Bernstein and Ennio Morricone."
good night, that's pretty high praise.
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damn, he looks so fucking constipated
now i get the title!
pozer, that made me laugh a lot!
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daniel day-poois
TP anderson
needs a peek-a-poo in the corner.
k that's all i got. i'm going away for 5 days, if anyone cares. authorized spokespeople may fill in for me while i'm gone. lat..
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Looking at that better image of the poster, I don't hate it quite so much now. But it's far from the "brilliance" I was expecting.
Agreed! It's still not that good, but not that bad either...
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a Poolardi Film Company Production.
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well it's here http://www.vantageguilds.com/twbb/FinalScript_TWBB.pdf (http://www.vantageguilds.com/twbb/FinalScript_TWBB.pdf) but nobody read it.
OMG , the entire shooting script online on the paramount website?????
Why has nobody talked about this more?
Anyone read it?
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saw the poster at the theater and like it more now. plus it drew attention.
i'm going away for 5 days, if anyone cares. authorized spokespeople may fill in for me while i'm gone. lat..
oh we care :salute:
i have not seen the poster at the theater.
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a Poolardi Film Company Production.
Produced by Daniel Poopy
-
spoolers (spoilers about poo)
Upton Shitclair
Poo Dano
"I've travelled across half our state to pee here and to pee about this land. This is my son and my pootner HW Plainpoo. Sometimes I call him Little Plainpoo." "I found some interesting Poosprects."
"I hate most poopie. I look at poopie and I see nothing worth liking.. I see the worst in poopie."
read no further if you don't want to be disgusted
Shitgarettes and *cough*pee
click here to download Smear
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Anyone live near San Francisco? Screening of TWBB on Nov 5 for just 10 bucks!!
http://www.castrotheatre.com/nov.htm
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Anyone live near San Francisco? Screening of TWBB on Nov 5 for just 10 bucks!!
http://www.castrotheatre.com/nov.htm
message from paul
Source: cig&rv
heads up for this one kids. got an email late last night:
well…….where to start?
it’s been a very long haul.
as you know, the film is done.
as you know, it’s in a big machine
lumbering along towards it’s release date….
so if you can’t wait for that big machine
to do it’s thing and you live in the bay area
of california……come to the Castro
on November 5th. we’re showing the movie.
if you haven’t been there, you won’t be sorry
that you did. it’s one of the most glorious
old movie palaces still standing…..
have sent along some photos to tide you
over. thank you for being patient and
keeping interested…..cannot wait to get it
out there. we’re really proud and very excited.
lots more to come in the next weeks and
months, so talk soon…
pta.
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holy shit I just bought tickets.
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Mac, you are going to this right? (I demand that you do!)
For once the ny crowd won't have the pleasure, haha.
edit: bc long, congrats you lucky bastard!
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WHAT THE EFF WHERE IS THE EAST COAST VERSION?
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Mac, you are going to this right? (I demand that you do!)
I gotta admit, the thought of buying a $150 plane ticket did cross my mind.
(http://www.hollywood-elsewhere.com/images/column/11107/castroblood460.jpg)
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WHAT THE EFF WHERE IS THE EAST COAST VERSION?
yeah really. i get that paul is an LA guy but help us out man, i'm dying!
I gotta admit, the thought of buying a $150 plane ticket did cross my mind.
i gotta admit the thought of buying a much more expensive plane ticket from new york did cross my mind.
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Mac, you are going to this right? (I demand that you do!)
I gotta admit, the thought of buying a $150 plane ticket did cross my mind.
Mac, what in the HELL are you talking about??? I live even further away than you, and i just bought 2 tickets :shock: :shock: :shock: it's all about the road trip!
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Mac, you are going to this right? (I demand that you do!)
I gotta admit, the thought of buying a $150 plane ticket did cross my mind.
Are you that far from it that you need to go by plane? How long is it by car?
Maybe we should chip in for mod's plane ticket since he does REALLY care about it. :yabbse-wink:
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Holy fucking shit. Just bought my tickets.
where the fuck is the high five smiley!
mods h8s us
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Are you that far from it that you need to go by plane? How long is it by car?
Around 15 hours round-trip by car. Two hours r-t by plane.
Maybe I should hitch a ride with pozer, or least start considering moving up there since it looks like all of Los Angeles is gonna burn to the ground.
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Maybe I should hitch a ride with pozer, or least start considering moving up there since it looks like all of Los Angeles is gonna burn to the ground.
oh right the fires. my excitment just decreased some.
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Awwwwrrrghphptptpt!!
And at the Castro!
I'll be in Arizona, instead of in the Bay Area where I belong.
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You know, I keep seeing great shit happening in Los Angeles and New York, and I keep bitching about the Bay Area being a relative dullsville for film fans... at least, by compairison...
Then I come home, check the board, and find this out....
I am fucking giddy.
Ecstatic, really.
I can practically walk to this.
Goddamn, I am happy.
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I just bought my ticket for the event. Yes.....Hey Mac, pozer, carpool?
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fuck. me. dead.
-
come to the Castro on November 5th. we’re showing the movie.
I wonder if by "we're" he means "Himself". *Crosses Fingers*
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I can't believe I'm not gonna get to meet Silias...
This is bad and I should feel bad.
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I just bought a ticket despite the fact that a) I am starting a new job this week and have no idea if I'll be able to get time off b) I live three hundred miles from SF and c) I'm broke.
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That's kind of irritating that people are buying tickets who aren't even sure they're going to make it. I hate it when people do this at concerts and then the box office won't let anyone in despite there being seats available. So, MAKE SURE YOU MAKE IT. I'll pitch in 10 dollars for your gas money. This is the scene in the movie where I help you get to the movie.
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haha lucid says I'm her plus one!
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ola fockers;
i suggest we get xixax bowling shirts made
and by suggest i mean do not suggest
will you stop and say hello?
ps: its all about the afterparty
cjw
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That's kind of irritating that people are buying tickets who aren't even sure they're going to make it. I hate it when people do this at concerts and then the box office won't let anyone in despite there being seats available. So, MAKE SURE YOU MAKE IT. I'll pitch in 10 dollars for your gas money. This is the scene in the movie where I help you get to the movie.
I didn't say I wasn't sure if I could make it, I said I wasn't sure if I could get time off work. That's what calling in sick is for. So please don't be irritated. You can still chip in for my gas if you want...
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Despite this screening, I was content with waiting until Christmas. But now all of this carpooling...I'm sad. I bet it will be like this:
(http://ecx.images-amazon.com/images/I/51NBEDVKGAL._SS500_.jpg)
Just be sure to drive through the top of a mall for me. :-(
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http://www.vantageguilds.com/screenings/twbb.html
Presumably you need guild or press affiliation to get into these? February is too far.
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I was able to get 4 tickets (that's all they would give me)
If I can't see it, then nobody can!
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Despite this screening, I was content with waiting until Christmas. But now all of this carpooling...I'm sad. I bet it will be like this:
(http://ecx.images-amazon.com/images/I/51NBEDVKGAL._SS500_.jpg)
Just be sure to drive through the top of a mall for me. :-(
Shit, I've been meaning to pick that up on DVD. Well, gotta put it on the wishlist.
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I was able to get 4 tickets (that's all they would give me)
If I can't see it, then nobody can!
Where do you live?
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I was able to get 4 tickets (that's all they would give me)
If I can't see it, then nobody can!
You need to pull a Hannah Montana and keep snatching them up and scalp them to the highest bidder.
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I was able to get 4 tickets (that's all they would give me)
If I can't see it, then nobody can!
Where do you live?
Transylvania.
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I was able to get 4 tickets (that's all they would give me)
If I can't see it, then nobody can!
You need to pull a Hannah Montana and keep snatching them up and scalp them to the highest bidder.
haha, I have no idea what you're talking about but that was a great episode.
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I was able to get 4 tickets (that's all they would give me)
If I can't see it, then nobody can!
You need to pull a Hannah Montana and keep snatching them up and scalp them to the highest bidder.
haha, I have no idea what you're talking about but that was a great episode.
I was talking about the ticket brokers that shat on the dreams of millions of young girls by buying up the tickets and scalping them at prices 10x face value.
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Like I care about profits. I just don't want anyone to see it if I can't.
I've spent over $1,000 buying up all the tickets I can.
How much would it have cost to fly down to CA to see it?
........
Damnit.
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well, you got your money back...
this news kinda sux for ppl who were going but dont live in the bay area. not a sure thing now :yabbse-undecided:
good for da kiddies tho.
im still goin for it.
***The tickets you purchased for Sneak Preview: THERE WILL BE BLOOD at
Castro Theatre on Monday, November 5 will be automatically
refunded since the event has been cancelled.
The cancelled event was:
Sneak Preview: THERE WILL BE BLOOD
This event is NOT CANCELED but the film promoter has decided to make
this a donation-at-the-door screening. Your purchase from TicketWeb has
been refunded in full. The film is still taking place, but you must pay
at the door $10 donation. All proceeds benefit the John Burton
Foundation for Homeless Children. http://www.johnburtonfoundation.org/
Thank you for choosing TicketWeb.
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me too. getting off work early.
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You know that now a bunch of people who don't even care about PTA's movies are going to show up just for a chance to see a movie early. They don't care what movie it is, they just want to brag that they saw a movie before it opened "Oh, that movie. I saw it months ago at an early screening. It sucked. It was soooo boring"
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modge may hav scored a point here. or at least half a point for those who HAD tickets.
http://www.cigarettesandredvines.com/news/ (http://www.cigarettesandredvines.com/news/)
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You know that now a bunch of people who don't even care about PTA's movies are going to show up just for a chance to see a movie early. They don't care what movie it is, they just want to brag that they saw a movie before it opened "Oh, that movie. I saw it months ago at an early screening. It sucked. It was soooo boring"
They'll be wearing the IMDB bowling shirts.
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yes free screenings are the worst. there are douchebags who show up HOURS and HOURS early just because they ONLY see free screenings. this could leave PT fans in the cold.
modage: :yabbse-grin:
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SHIT
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You know that now a bunch of people who don't even care about PTA's movies are going to show up just for a chance to see a movie early. They don't care what movie it is, they just want to brag that they saw a movie before it opened "Oh, that movie. I saw it months ago at an early screening. It sucked. It was soooo boring"
They'll be wearing the IMDB bowling shirts.
Yup. And they compare EVERY action movie to Gladiator, and EVERY comedy to Office Space, and EVERY drama to random Ron Howard movies. "Eh, I don't know, it just wasn't as realistic as A Beautiful Mind"
"The Missing is a WAY better western than I Want Blood"
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at least there'll be a lot of new material for the "Stupidest thing you've heard someone say about a movie" thread.
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You know that now a bunch of people who don't even care about PTA's movies are going to show up just for a chance to see a movie early. They don't care what movie it is, they just want to brag that they saw a movie before it opened "Oh, that movie. I saw it months ago at an early screening. It sucked. It was soooo boring"
They'll be wearing the IMDB bowling shirts.
tears of lol's sir. well played.
pea ess: the site has been updated again with further info should you all require it
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pea ess: the site has been updated again with further info should you all require it
just one final bit: when is the nyc screening? :(
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ah, lining up starts at 1pm. is this gonna work? I have a feeling I might end up roaming the streets of castro for love come 7pm.
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the box office will be open at 1pm for the 7pm screening
Does that mean we can buy tickets at 1? or we can show up at 1?
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Be sure to blog from the campout.
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I think "box office will be open" means they'll be selling tickets.
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I think "box office will be open" means they'll be selling tickets.
thank you.
cjw
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Looks like I'm going to modesto, my hometown, the day before to get there early. Modesto is an hour south east from frisco. Okay. I'm feeling a bit better.
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Nothing much, just a new quote from PTA
Source: USA Weekend Holiday Movies preview
There Will Be Blood (Dec. 26) For this film version of the classic Upton Sinclair novel about the origins of the oil industry, filmmakers had to build a 60-foot derrick in barren Marfa, Texas, and then set fire to it. "There was a lot of anxiety about that on the set," says director Paul Thomas Anderson. "Our special-effects expert told us, 'I can start the fire, but I can't guarantee we can put it out.' " The filming went fine, but the experience made a big impression on Anderson. "I got a whole new appreciation for what firefighters go through."
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i keep telling myself that i'm not going to look at this thread, b/c how can the movie possibly live up to these enormous expectations?
but here i am...
i do think, and i don't think i'm the first to suggest this, that we should make a new thread for when the movie opens. we're already on page 56 and nobody's even seen this yet.
PS - sorry for the substance free post. i'm on a diet.
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'Blood' Lands in L.A.
Source: Kris Tapley; Red Carpet District
Paramount Vantage showed Paul Thomas Anderson's "There Will Be Blood" to a mere four -- count 'em -- four members of the Los Angeles entertainment press corps last night...but don't expect any reviews yet.
That's right, we're all expected to be nice enough to hold our thoughts until the Nov. 5 unveiling of the film in San Francisco, at which point the flood gates will certainly go down in a hurry.
All of this despite the fact that the film was kinda, sorta reviewed here at Variety by a stringer out of the Fantastic Fest in Austin, mind you. Marjorie Baumgarten of the Austin Chronicle had some thoughts in print at that outlet as well as on Variety's festival blog "The Circuit." John DeFore, meanwhile, ran a full review out of the fest at The Hollywood Reporter. So the sanctioned cat, if you will, is somewhat out of the bag.
But like I said...we're being nice.
More to come...
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Be sure to blog from the campout.
yeah, and we're gonna need updates every five minutes during the movie.
score/no score
blood/no blood
etc.
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Ew, they could have at least type set OIL! in the same 'black letter' as the movie title.
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SPOILS
http://bibliomarket.wordpress.com/2006/12/11/gallaudet-student-russell-harvard-on-csi-ny-dec-13/ (http://bibliomarket.wordpress.com/2006/12/11/gallaudet-student-russell-harvard-on-csi-ny-dec-13/)
This isn't very special but it does have a picture of the guy playing the older H.W.
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motherfucker, that's a spoil.
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the actor/character is listed on imdb tho. there're spoils everywhere. one of the titles on the soundrack seems like a spoil.
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there will be spoils. but that's no excuse for posting them here without proper warning.
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Let's just refrain from posting ANYTHING. Just to be safe.
Lock thread please.
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my bad guys, now that i think about it, i guess it is
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yeah it's a pretty big spoil. that's ok, rookie mistake. i'll just go on a huge bender right before i see the movie.
uh,.., on second thought just everybody please think before you post news, especially when it's obviously about the future/later (in this case maybe even post-final) stages of the story.
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I can't wait for the next person to post a unlabeled spoiler, they are sooooooo screwed.
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frog storm and shiz...
sincerely,
john exodus 3:16/82
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(http://us.penguingroup.com/static/covers/all/6/6/9780143112266H.jpg)
spoiler: this isnt about the middle east
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cigs 'n' v shows the score is up here: http://www.vantageguilds.com/twbb/index.html
i don't know if it's the full score. it's mislabled. i scanned through and if it is, we may never know where that theme from the trailer comes from, dammit. has anyone figured it out?
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REMINDER! Song titles listed on Pic's link contain spoilers.
Also, Spoiler: the soundtrack is awesomely haunting
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http://www.pitchforkmedia.com/article/download/46754-jonny-greenwood-there-will-be-blood-ost-stream
speak of the devil, pitchfork had a link to listen to some of the score...
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:yabbse-smiley:
Dear Castro Theatre Patron,
There has been some concern among customers who purchased tickets for the November 5 screening premiere of "There Will Be Blood." Due to an agreement with the film promoter, the screening is a benefit for the John Burton Foundation. Their request was to have tickets available at the door only and not in advance. We "canceled" the online pre-sales and your full purchase price plus any fees were refunded by TicketWeb.
To make sure you are able to get into the screening, the number of tickets you purchased for the "There Will Be Blood" sneak preview will be put ON HOLD at the Castro Theatre's box office. You have not paid for these; a donation of $10 is required for each ticket. They will remain ON HOLD until 7:30pm, at which time they will be sold if necessary. If you recieved paper tickets in the mail, they are no longer valid. The box office will open at 1:00pm. 4 ticket limit per patron. CASH ONLY please.
Thank you for your understanding and patronage of the Castro Theatre.
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made an mp3 rip of the score chunks. labeled for itunes.
http://www.mediafire.com/?eyidmmzxycz
it's super low qual but i don't think it's lower than the source.
missing track: http://www.mediafire.com/?2nw02emlumz
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made an mp3 rip of the score chunks. labeled for itunes.
http://www.mediafire.com/?eyidmmzxycz
it's super low qual but i don't think it's lower than the source.
thanks so much! let me add to the hyperbole: the score channels stravinsky and shostakovich.
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:yabbse-smiley:
I was going anyway, but this makes things much easier. Standing in line for hours is no fun but I would have done it for CMBB.*
*As I was typing that, there was a solid five second earthquake. :shock:
I wouldn't go if I was you. That was definetely a sign. I can't go, but if I was you and was going, I'd NOT go.
All of you. DON'T GO.
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shot! i forgot one track. here it is:
http://www.mediafire.com/?2nw02emlumz
on second listen there might be a drop in quality simply from transcoding.
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There Will Be Blood
By TODD MCCARTHY; Variety
**SPOILER WARNING**
A Paramount Vantage (in U.S.)/Miramax (international) release and presentation of a JoAnne Sellar/Ghoulardi Film Co. production. Produced by Paul Thomas Anderson, Sellar, Daniel Lupi. Executive producers, Scott Rudin, Eric Schlosser, David Williams. Directed, written by Paul Thomas Anderson, loosely based on the novel "Oil!" by Upton Sinclair.
Daniel Plainview - Daniel Day-Lewis
Eli Sunday - Paul Dano
Henry - Kevin J. O'Connor
Fletcher - Ciaran Hinds
H.W. Plainview - Dillon Freasier
Mary Sunday - Sydney McCallister
Abel Sunday - David Willis
H.M. Tilford - David Warshofsky
William Bandy - Colton Woodward
Adult Mary Sunday - Colleen Foy
Adult H.W - Russell Harvard
Boldly and magnificently strange, "There Will Be Blood" marks a significant departure in the work of Paul Thomas Anderson. Heretofore fixated on his native Los Angeles and most celebrated for his contempo ensemblers, writer-helmer this time branches out with an intense, increasingly insidious character study of a turn-of-the-century central California oil man. There's no getting around the fact that this Paramount Vantage/Miramax co-venture reps yet another 2½--hour-plus indie-flavored, male-centric American art film, a species that has recently proven difficult to market to more than rarefied audiences. Distribs will have to roll the dice and use hoped-for kudos for the film and its superb star Daniel Day-Lewis to create the impression of a must-see.
Officially penning an adaptation for the first time, Anderson turns out to have been inspired very loosely indeed by his source, Upton Sinclair's 1927 novel "Oil!" Pic betrays little of the tome's overview and virtually none of socialist Sinclair's muckraking instincts. Instead, it is more interested in language, in the twinned aspects of industry and religion on the landscape of American progress and, above all, in creating an obsessive, almost microscopically observed study of an extreme sociopath who determinedly destroys his ties to other human beings.
Notwithstanding its passing resemblance to "Citizen Kane," this theme is an odd one on which to build a big movie, especially in view of the extreme manner in which it ends; one can only guess at Anderson's personal reasons for dwelling on it with such unremitting fervor. But his commitment to going all the way must be respected in the face of conventional commercial considerations. Day-Lewis' Daniel Plainview is a profoundly anti-social fellow, malevolently so, and "There Will Be Blood" devotes itself to scratching, peeling and digging away at a man determined to divest himself of his past and everyone associated with it.
Foregrounded by an electronic sound that soars to an almost unbearable pitch, the first 15 minutes unfold with essentially no dialogue, as Daniel, in 1898, digs laboriously for silver and gold, then moves into oil. By 1911, he is a man of some means and has a son, although no wife. Tipped off about the abundance of oil in a rural area, and about Standard Oil's activities thereabouts, Daniel visits the farm of the pious Sunday family on false pretenses, obtains drilling rights at a bargain rate and immediately constructs the derricks on the property that will make his fortune.
Notably distinguishing the film during this initial stretch are its fulsome physicality, its linguistic distinction and the extraordinary originality of the musical score. Filmed around Marfa, Texas (where both "Giant" and "No Country for Old Men" were shot), pic presents a vivid, visceral account of the risky and sometimes dangerous labor it took to summon up black gold. With its functional, makeshift buildings and scattered equipment lending the parched landscapes a scarred beauty, Jack Fisk's production design indelibly brings to life the evocative photographs that exist of such industrial communities, and Robert Elswit's lensing captures it all with strong widescreen compositions and muscular camera moves.
More striking, however, is the nature of the language. Day-Lewis may well have used John Huston as a vocal model for his line deliveries, and it may not be farfetched to suggest that Plainview reps a younger incarnation of Huston's memorably corrupt tycoon Noah Cross in "Chinatown." Beyond such a comparison, however, lies Anderson's remarkable achievement in creating dialogue marked by different cadences than we're accustomed to today, with heightened formality, clarity and precision that lend it a slightly theatrical quality rooted in the 19th century. The unashamedly declarative talk, set against the backdrop of an America quickly transforming from rural to industrial, brings to mind a bracing fusion of Eugene O'Neill and John Dos Passos.
On top of these elements is the sweeping, surging, constantly surprising score by Radiohead's Jonny Greenwood, which could be described as avant-garde symphonic. It develops over long, sustained periods, not always in precise emotional alignment with what's taking place onscreen, but generally deepening and making more mysterious the film's moods and meanings. It's a daring, adventurous, exploratory piece of work, one that on its own signals the picture's seriousness.
From the outset, when Daniel suffers a leg injury, a sense of foreboding exists that, in concert with the title, promises worse to come. Accidents take place on the job, notably one in which Daniel's son H.W. (the marvelous Dillon Freasier), now about 10, loses his hearing. Until now very close to his father, the newly impaired H.W. is soon heartlessly banished by Daniel.
Further disturbing developments involve Eli Sunday (Paul Dano), the son of the landowner Daniel took advantage of. A young, charismatic evangelist, Eli builds a considerable congregation of staunch believers in Daniel's midst, and while Daniel pays lip service to the community, he clearly views Eli's activities with contempt.
Then there's the arrival of Henry (Kevin J. O'Connor), a derelict who claims to be Daniel's half-brother and informs him their father has recently died. A jailbird and vagabond, Henry wants nothing but a menial job. Daniel takes him in, and eventually confides his radically misanthropic views to him as he does to no one else.
"I hate people," Daniel bluntly admits. "I want to earn enough money so I can get away from everyone." It's an ambition money can facilitate, but not before a terrible crime is committed and Daniel launches a one-man war against Standard Oil that involves acquiring more land to build an oil pipeline to the sea.
Drama's final 25 minutes play out in 1927, with an ultimate reckoning among Daniel, now crazy as a loon and living in Kane-like isolation, Eli and the now-grown H.W. Visually and dramatically, the final scene is a jaw-dropper, one that fits with what has come before but may still leave even partisan viewers a bit flummoxed.
The film's zealous interest in a man so alienated from his brethren can be alternately read as a work abnormally fascinated by cold, antisocial behavior, or as a deeply humanistic tract on the wages of misanthropy. Either way, Anderson has embraced his study of a malign man intimately, as has Day-Lewis, who, as always, seems so completely absorbed in his role that it's difficult to imagine him emerging between takes as just an actor playing a part. Daniel is a man who will stop at nothing to achieve the unnatural state of becoming an island onto himself, and Day-Lewis makes him his own.
Entire cast looks to have stepped out of a photo album from a century ago. Bulky but cherubic-faced, Dano ("Little Miss Sunshine") ranges from politely deferential to frothingly enraptured in a powerful performance as the young man of God, while O'Connor quietly rivets as a lifelong unfortunate. Pic could have used a developed sequence or two to establish the relationship between Daniel and his right-hand man, a role in which the imposing Ciaran Hinds gets short shrift. By contrast, numerous other supporting players have at least one scene in which they can shine. Women count for nothing in Daniel's rough and rugged world.
On a craft and technical level, the film is of the highest quality, not least in the sound department, where the mix is exceedingly complex and expressive.
Camera (Deluxe color, Panavision widescreen), Robert Elswit; editor, Dylan Tichenor; music, Jonny Greenwood; production designer, Jack Fisk; art director, David Crank; set designer, Carl Stensel; set decorator, Jim Erickson; costume designer, Mark Bridges; sound (DTS/SDDS/Dolby Digital), John Pritchett; sound designer, Christopher Scarabosio; re-recording mixers, Michael Semanick, Tom Johnson; stunt coordinators, Jeff Habberstad, Myke Schwartz; assistant director, Adam Somner; casting, Cassandra Kulukundis. Reviewed at Paramount studios, Los Angeles, Oct. 25, 2007. MPAA Rating: R. Running time: 158 MIN.
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**SPOILERS**
(http://www.hollywood-elsewhere.com/images/column/11107/bloodfire.jpg)
"There Will Be Blood" (***1/2)
Source: InContention.com
Paul Thomas Anderson’s “There Will Be Blood” might be one of the most fascinating films ever crafted. It is operatic and sinister, all at once beautiful and magnetic in its depiction of a deplorable human being through and through. But there is a deeply buried empathetic virtue to the character of Daniel Plainview (Daniel Day-Lewis) that suggests some twisted personal connection on the filmmaker’s part.
There is plenty to be said and speculated upon regarding Anderson’s dicey relationship with his father, and portions of that may have played into the creation of this film, which is based on the novel “Oil!” by Upton Sinclair. Whatever the case, “There Will Be Blood” is a stark narrative that counts among the best films of the year for its sheer artistic brilliance and, indeed, defiance.
Taking his lead from Sinclair’s portrait of turn-of-the-century oil men, Anderson’s effort has already drawn comparisons to Orson Welles’ “Citizen Kane.” Such comparisons may be exaggerated, but it isn’t out of the question to consider Daniel Plainview in the same wheel house as Charles Foster Kane. I would wager that the character is a weird combination of Kane and Howard Hughes, with dashes of Frankenstein, the Wolf Man or some other movie monster thrown in, because “There Will Be Blood” is just that – a monster movie. It twists the viewer’s sense of expectation into knots and then casually releases the tension, only to wrench them back up again. It’s an imperfect film that terrorizes the mind nontheless, and I loved every second of it.
The film opens on Plainview in the desert of the Southwest in 1898, the latter days of westward expansion and yet the beginnings of American capitalism in the West. Drilling in the dry, powdered rock of the region, a lone man on a search for the beginnings of a new, lucrative life, Plainview inhabits the entire first reel of the film (15 or 20 minutes) largely by himself with not a line of dialogue in sight. An eerie, locust-like score rises and falls, drones throughout and recalls the scratching of nails on a chalkboard, much like the early portions of “The Exorcist.” Indeed, composer Jonny Greenwood’s work throughout the film is wonderful in its ambition and ignorance of convention.
A few years trickle by as Plainview adds onto his enterprise until finally, oil. A black-tarred hand reaches to the sky and suddenly you sense the influence of Stanley Kubrick on the film. Like the apes who discovered weaponry in “2001: A Space Odyssey,” Plainview has come upon the object that will dictate America’s destiny for the next century and more.
Yet more years pass and Plainview has established himself, along with an adopted son he claims as his own, in the business world of oil. New opportunities arise in various communities where Plainview can take full advantage, and finally, Day-Lewis speaks. It’s the beginnings of one of the year’s most dynamic performances, an absolute terror of a turn from one of the screen’s most gifted actors.
Anderson’s film moves forward, dabbles insistently in religion (Paul Dano’s work as Eli Sunday, an evangelical preacher taking advantage in his own way, illuminates a lot of the film’s interior) and soon enough moves quickly, forcibly toward a conclusion, and indeed, a final line that will go down as one of the cinema’s greatest. I can’t conceivably ruin the ride for you here, as “There Will Be Blood” MUST be experienced personally and without much in the way of preparation.
Daniel Day-Lewis has spit out a tour de force performance like it was on the agenda before breakfast. He makes it look so easy that one must think he has oil in his veins. As mentioned, Anderson has buried empathy so deep within him that it’s almost unnoticeable (and surely will be to passing viewers…i.e., the AMPAS). But it’s there. Plainview is a man willful in his ignorance of the saviors of religion, love and family. At the first spark of potential fraternal camaraderie, we see it in Day-Lewis’ eyes. He wants to feel that warmth, but he detests it all the same. Indeed, he might be the epitome, the embodiment of hate. For some, it will be impossible to look away from the performance. For others, the closest exit won’t be close enough.
Paul Dano is somewhat capable in a role that seems to be a bit out of his artistic reach for the most part, but who could keep up with Day-Lewis in a film like this? Still, Sunday is a maniac in his own right, a terribly interesting foil to Plainview that leads to a battle of souls if nothing else.
And in that final sequence, even though Dano comes off a touch awkward, even though Day-Lewis flies so far off the handle it’s as if he is chewing through the concrete of the set, it all feels appropriate. The tone, the ultimate chill left in the viewer’s stomach, the entire scenario seems skillfully plotted by Anderson, deliberately constructed and exactly as it was going to be.
So it goes that Paul Thomas Anderson remains one of the cinema’s greatest living treasures. Shrewd in his decision to move to unoriginal material, perhaps wary of the pitfalls of the writer/director mold, perhaps not, he has taken yet another leap within a cinematic resume that keeps getting better and better, more and more impressive. “There Will Be Blood” is a horrific work of mastery that I don’t imagine any other filmmaker would have ever been capable of accomplishing. Take Stanley Kubrick, breed him with Terrence Malick and wallow the result in the world of Robert Altman’s “McCabe & Mrs. Miller” and you might come close. You might.
http://www.incontention.com/2007/11/there_will_be_blood.html
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ThompsonOnHollywood
Source: Variety
My take on the movie: it is brilliantly written, acted, directed, mounted and scored. Like the novel, it reveals a key aspect of the American character. The oil catter played by Daniel Day-Lewis--who gives a towering performance sure to earn him award consideration--is driven, powerful, tenacious, and greedy. He is the sort of man who made this country, and still does. But he is also deeply sociopathic.
In some ways the movie is a companion piece to Michael Moore's Bowling for Columbine. Americans are a remarkably violent people. Our country breeds and foments violence. But the movie's dark, grim, assaultive nature, and the finale that does not offer any light in the darkness, will drive many viewers away, especially women. It's an art-house movie for smart people with strong stomachs. Cinephiles will revel in this. As a writer-director, PTA will earn the respect of critics and peers. But a wide-audience spectacle this is not.
PTA lacks that warm touch that can open a movie up to a broader swath of viewers--compare this to the Coens' No Country for Old Men. That movie in its way also reveals the darkness in mens' souls. But there are many people--like Tommy Lee Jones' sheriff--fighting the good fight. Even if they lose, they are still fighting.
Finally, There Will Be Blood's greatest achievement is Day-Lewis's performance. He brings humanity to a character who might otherwise not have any, as interpreted by another actor.
http://weblogs.variety.com/thompsononhollywood/2007/11/there-will-be-b.html#more
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thats a new trailer that apple is streaming right?
the last 5 or so images before his monologue at the end there look incredible.
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'tis another hype machine indeed. monday will be extraordinary.
http://www.apple.com/trailers/paramount_vantage/therewillbeblood/domestictrailer1/ (http://www.apple.com/trailers/paramount_vantage/therewillbeblood/domestictrailer1/)
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HD dude, HD!
http://www.apple.com/trailers/paramount_vantage/therewillbeblood/hd/
i think i am actually going to stop visiting this thread on sunday. and not for almost two months. i'm sure there will be like 50 pages of comments to catchup on. that will be insane.
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The only reason I know this thread exists is because it's constantly in the recently posted section. I'd ask if there's anyone else avoiding the hype but you're reading this so you're not. For those reading I don't know how you do it, like pump yourselves up for so long and make 16 hour trips for the preview and talk about every minor detail. It'd kill it for me. I haven't watched a trailer, read an interview, etc, and when I see this movie I'll see it alone and without my friends who are like you guys. Not because that's the better thing to do, but because there's so much excitement surrounding this movie that it floats into my experience anyway, so without even attempting anything I have these expectations forming and I'm just the kind of guy that likes to keep the personal movies personal. Opening night in a crowded theater isn't how this one seems it should be seen. It's also the reason I've never seen Taxi Driver in a theater. Taxi Driver in a theater? IThere'd have to be puddles on the ground, and the guy in front of me would be masturbating in one hand, holding popcorn in the other, there'd be a group of kids in the back who snuck in and won't shut up, and the sound would be a little off. My setting would have to be like the movie's setting I guess. I couldn't see the thing in a cineplex, with a bunch of film geeks worshipping in quiet reverie. I can't treat There Will Be Blood like Transformers.
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you can't treat it like a movie and that's fuckin stupid
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It's not a fucking argument you pompous kneejerk assfuck.
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mama mia! that's-a spicy meatball!!!
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how could this possibly be the 'domestic' trailer and the the 'theatrical' one not?? i'm not saying it isn't amazing, but it's pretty bizzarre if you've never heard or seen anything else about the film. i thought domestic was supposed to appeal to the broadest, dumbest to smartest possible range. the sexed-up version. no?
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(http://img2.timeinc.net/ew/dynamic/imgs/071101/willbe_l.jpg)
The Music: There Will Be Blood
Source: EW
There Will Be Blood sounds like the title of a slasher film. And if you were to listen only to its unhinged orchestral score, almost entirely composed by Radiohead's Jonny Greenwood, you might actually assume that's what it is. In fact, there are minimal amounts of spilled hemoglobin in Paul Thomas Anderson's fifth film, about a misanthropic oilman (Daniel Day-Lewis) making money and enemies in California. ''But sometimes Paul would describe it as close to the horror genre,'' says Greenwood, who set aside his rock guitar for string quartets, piano trios, and an 80-piece orchestra. ''We talked about how The Shining had lots of Penderecki in it. We figured the instruments should be contemporary to the turn of the last century, but not period music. Even though you know the sounds you're hearing are coming from very old technology, you can do things with the classical orchestra that unsettle you, that are slightly wrong, that have some kind of slightly sinister undercurrent.'' Anderson adds: ''I guess when you have a title like that, the music better be a little bit scary.''
The first portion, in which Day-Lewis investigates desert-oil prospects, is dialogue-free, alternating between silence and screeching strings in extreme dynamics rarely heard since Kubrick's 2001: A Space Odyssey. ''I had a dream about making a movie that had no dialogue, just music and pictures,'' says Anderson. ''I got close with the first 20 minutes here.'' It marks a big departure from Anderson's talkier, more Altmanesque pictures like Magnolia — which is why the director brought in fresh collaborators, calling on Greenwood rather than his usual composer, Jon Brion. ''It's really thrilling just to hear different sounds coming out of a film you've made,'' says Anderson. ''I worked with a production designer and other people I've never worked with before. It's nerve-racking and exciting and...you have to be more polite,'' he laughs.
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If Mr. Anderson does a Q&A tomorrow, I want to know three things:
1.) What will the DVD be like? Will it have commentary?
2.) Does he have his next project in mind?
3.) Will he ever release the video for We Suck Young Blood?
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3.) Will he ever release the video for We Suck Young Blood?
:yabbse-thumbdown:
ask if there will ever be a compilation of all his non feature film work/shorts/videos...
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So what time is everyone getting there tomorrow? And who wants to save me a spot in line?
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So, has any of you sonsofbitches died of excitement yet?
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I'll be happy if I got there and the line was short. If any of y'all recognize my face, holler.
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On this day, I am an envious man.
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agh! I'm on the East coast.
that means t-minus 1 hour and 25 minutes 'til "7:30"
and almost 4 (or maybe even 5?) hours 'til people come home to write about it.
damn.
that's like 2 am.
see y'all in the morning.
show some cinema-love.
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Update from the theater.
45 minutes until showtime: no blood yet.
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haha I'm at the theater too, half an hour from the blood. some sign of xerxes somewhere I heard from lucid. I'm at the fastfood joint next door getting food and using their internet. the place is packing up.
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It wasn't even that painful until you guys started making it real.
There's blood here right now. Bad blood.
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Let's ban them all.
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It's ok those suckers are missing Seinfeld on Charlie Rose, they'll get their priorities straight one day.
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new board for those who've seen the light..
YOU MUST READ THIS BEFORE POSTING: http://xixax.com/index.php?topic=9967.0
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feel free to post non-spoiler reviews here, though!
please
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yes. if you want, post a spoiler-free version of your review (mostly hype) here for the peasants.
just so we may touch the hem of your garments.
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Which Xixaxer is this?
http://www.rottentomatoes.com/m/there_will_be_blood/news/1686761/
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I just found out this doesn't come out in the UK till February 8. This makes me quite embarrassingly angry and uhappy. :yabbse-angry: :yabbse-sad:
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I just found out this doesn't come out in the UK till February 8. This makes me quite embarrassingly angry and uhappy. :yabbse-angry: :yabbse-sad:
i still don't know when it's coming to aus. but rest assured it will be around the same time or later, maybe even after the oscars. it sucks that i'm gonna hav to get my hands on a screener or even the US dvd release itself and spoil it on a small screen if i wanna make through 2008 alive.
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i still don't know when it's coming to aus. but rest assured it will be around the same time or later, maybe even after the oscars. it sucks that i'm gonna hav to get my hands on a screener or even the US dvd release itself and spoil it on a small screen if i wanna make through 2008 alive.
IMDb has 1 January 2008, and I don't know why it has that date as in the front page since I'm in México and it should have the Mexican release date, of course as for this moment there isn't a release date for us, but I couldn't care less about it, I'll go to either to Laredo or McAllen Tx. to see it. If Cron or alexandro want to join me they're welcome. :yabbse-smiley:
feel free to post non-spoiler reviews here, though!
please NOW!
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IMDb has 1 January 2008
wow that's incredible. i didn't bother checking cos i was sure it would be the same as always. this is before everyone, even most of america! wauv.
i won't be cutting myself to sleep tonite!
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Needless to say, IMDB doesn't even have a release date for Portugal. I'm betting for around February. Anyway, with Cronenberg, DePalma, the Coens, Coppola, Wes Anderson, Tim Burton, Woody Allen or Van Sant coming in the next few months, I think the wait is going to be less depressing. That said, I wanna see this RIGHT FUCKING NOW!!!
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I just found out this doesn't come out in the UK till February 8. This makes me quite embarrassingly angry and uhappy. :yabbse-angry: :yabbse-sad:
I knew there was a reason I moved to Texas
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a few reviews from last night:
http://www.aintitcool.com/node/34702
probable spoilers.
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If those reviews are indicative of the people who showed up to the screening, it's a shame more of US couldn't go.
"I had no idea the little mrs sunshine guy was going to be in it! he was pretty awesome"
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Jeffrey Wells' review is up.
PROBABLE SPOILERS
http://hollywood-elsewhere.com/archives/2007/11/post_187.php
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Which Xixaxer is this?
http://www.rottentomatoes.com/m/there_will_be_blood/news/1686761/
Wow, I hope that kid wasn't from the site. There's got to be better ways to waste 12 hours of your time. I got there at about 5:30 and there were only about 25 people in front of me, and the theater has 1800 seats or something.
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Everyone who saw this movie are a bunch of dickheads. There should be a billion comments about the film for those of us who weren't able to see it.
I hope you all go blind and deaf and the only way you can experience another movie is to read a review of it written of braile.
:.:: ..: <------ FUCK YOU.
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Everyone who saw this movie are a bunch of dickheads. There should be a billion comments about the film for those of us who weren't able to see it.
I hope you all go blind and deaf and the only way you can experience another movie is to read a review of it written of braile.
:.:: ..: <------ FUCK YOU.
I would offer the suggestion to relax, but I'm not sure if it would help.
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:.::: ...:.:. ::...:: :::.:.:.:!!!!!!!!!
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I'm kind with Stefen on this one, why can't the guys who saw it comment about it in a spoiler free way (here!)?
You can say a million things to hype it more (if that's even possible), but so far the ppl who've seen it only post in the child board and I won't be reading that one til I see it no matter when that happens.
I actually kind of regret making fun of the nyc ppl, pretty sure at least mod would already be chering the blood with us unprivileged xaxers; anyway, where the hell is Pozer's hype?
ok, I don't wish anyone to go blind but seriously, share the love here damn it.
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I posted this earlier in the secret-spoiler-heavy thread, by accident.
So here it is again:
I want to write something, but everything I want to share seems like it would possibly spoil something. I think anything is going to spoil something, but I'll avoid plot, dialogue, performances, and shots... lets see where that gets us...
The movie:
What struck me watching this film is that PTA is a director filled with influences, but he never mimicks them. For all the talk of McCabe and Mrs. Miller and Days of Heaven, neither of those films are similiar to TWBB. In fact, there were moments of this film that were wholly original. Moments where I felt like I've never seen anything like it and it excited me more than anything I'd seen in years. PTA doesn't want to emulate his heroes, he just constructs in a voice just as valid and as exciting as them.
The sound design, again, was incredible. Probably the best use of sound in a PTA film yet - which, I think, is saying quite a lot. It's very restrained, and very loud when it needs to be. PTA has always made me "feel" exactly what I'm hearing and here he uses that trick masterfully. The score is fantastic, too. And, listening to Greenwood's work, after working almost specifically with Jon Brion, it reminded me how much of a collaborative effort the score is between PTA and his composer. He seems to get musicians to articulate exactly what he needs while still providing their own sound. There were moments where the music felt similiar to Magnolia and Punch-Drunk Love. Not derivative, mind you, but certainly coming from the same part of the brain.
Before the film, when talking about the John Burton foundation, PTA mentioned that John Burton had a role in the film, but it was cut due to time. I haven't read the script yet, so I'm not sure how much else was cut. The film never feels indulgent in it's length, or truncated... but I still would have liked it to be longer. The last twenty minutes felts a bit rushed compaired to everything that had happened before.
But that is the smallest of quibbles - one that I'll probably reject on further viewing. This film is a rush. It's big, scary, and potent. As enthusiastic as I was going into it. As excited as I was to see a new PTA film, I still tried to reserve my praise for it. I didn't want to unabashedly claim genius because I love the director. Rehardless of any of that, this is a spectacular film. If this was his first film, and there were no expectations attached to it, it would still be magificent. But it is certainy a film no other director could have made. It is unique and new and, no matter what you expect, it will surprise you.
The screening:
When PTA introduced to the film, he said something to the effect of the Castro being one of the finest, if not best, theaters in America. I'm inclined to agree. Whoever books it's schedule is certainly enthusiastic enough. But there are enthusiastic bookers in most towns. It's the theater that speaks for itself. I also forget how fucking huge the place is. I'm not sure if the screening sold out, but I am sure that tickets were available for a longer time than I would have guessed. It wasn't an empty theatre, by any means, but it seemed to take a little effort to fill up the place. Which is good, because these goddamn AMC auditoriums seem content on getting smaller and smaller - it's nice to see a movie in a real, honest-to-God movie theater.
The film wasn't spoiled by the unitiated, even though I heard, more than once, onversations to the effect of, "I don't even know what this movie is, but it doesn't come out for, like, months."
The film wasn't even ruined by the dude who sat in front of me, apparently a Castro "regular", who smelled of garbage and sweat, carried two paper bags filled food and bottles of Clorox, and would occassionally reamrk to the similiarly crazy fella next to him about what was happening on screen. I did talk to this guy afterwards, and he seemed very adament that Daniel-Day Lewis reminded him "A LOT" of Tom Selleck. He also ate cake with his hands.
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The film wasn't even ruined by the dude who sat in front of me, apparently a Castro "regular", who smelled of garbage and sweat, carried two paper bags filled food and bottles of Clorox, and would occassionally reamrk to the similiarly crazy fella next to him about what was happening on screen. I did talk to this guy afterwards, and he seemed very adament that Daniel-Day Lewis reminded him "A LOT" of Tom Selleck. He also ate cake with his hands.
Oh man, you sat behind THAT guy?? I would have moved.
My seating situation did affect how I felt about the movie a little teeny bit, but it was mostly the sound. The Castro has some weird acoustics, and I felt that I was so close to the speaker that every sound was incredibly grating, from the sound of pickaxes on rock to the INCREDIBLY cacophonous moments of the score, which I probably would like better if I could hear it a little less abrasively. I was also a little too close to the screen and got a neck kink which made me feel the length of the movie, but mostly from my own physical discomfort rather than poor pacing, which it did not have.
However, I thought it was very good. I didn't join this website from the PT Anderson forum, and I am not his most die-hard fan; I am far from it, in fact. I like most of his movies, but I only loved one of them (Boogie Nights) prior to seeing There Will Be Blood, so I went into this without elevated expectations. But enough about me. This was so completely different from the rest of Anderson's movies that I was really surprised to not find his favorite actor buddies and to not see his usual gimmicks like extremely long takes. There were some long takes, but they didn't feel uniquely long; rather, they fit the needs of the movie and the story very, very well. The acting was excellent, but I don't think anyone would think any less from Daniel Day Lewis. Every time I see him, I forget sometimes that he's an actor, or that he ever played different roles in his life, because he commits so much to each character.
The movie was very detailed, in ways that I'm sure I will only catch from seeing it again. The editing was very intelligent, and there were cuts between scenes that revealed a lot of information, as Xerxes said to me, and I agree with him. The relationship between Plainview and his son and some of the other characters in the film provide a sort of irony to the the title "There Will Be Blood," which I thought was very clever. It is a much more mature film than his previous ones, and while before I could imagine knowing the kind of guy who would make those films, with this one, it seemed like a film by a true professional. I am running out of things to say without revealing anything.
It was kind of funny to see everyone in the theater sticking around, expecting a Q&A. I wonder how many people would have sat through the credits if they knew that PT Anderson took off right after the movie started. I am a credits watcher, and it was sweet to see that he dedicated it to Robert Altman. That got a lot of applause from the audience. However, they also applauded Skywalker Sound, which was kind of silly.
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It was kind of funny to see everyone in the theater sticking around, expecting a Q&A. I wonder how many people would have sat through the credits if they knew that PT Anderson took off right after the movie started. I am a credits watcher, and it was sweet to see that he dedicated it to Robert Altman. That got a lot of applause from the audience. However, they also applauded Skywalker Sound, which was kind of silly.
PTA was still there. Or, if he didn't stay for the screening, he came back later, as my friends and I saw him coming down the stairs from the balcony as we were leaving and one of my friends got his frog signed. (We were too surprised to run into him to ask about the commentary. Sorry, Mac.)
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I thought this thread would be hopping by now.
Next time something like this happens, different people should go.
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for anyone who's curious, the H.W. board is talking about the ending right now.
SO DON'T GO THERE.
i took one for the team.
also, turns out no one from the board said hi to anyone else. the ny crowd would be telling a different story right now, i reckon. at the very least there would be anecdotes of cbrad and mod playing "keep-away" with samsong's crackpipe.. again.
chering the blood
that was brilliant, btw.
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at the very least there would be anecdotes of cbrad and mod playing "keep-away" with samsong's crackpipe.. again.
at the very least. you cali guys are lame. i was already seriously considering a pre-cwbb screening keg party at my apartment for all you nyc xixaxers i have yet to meet, to be immediately followed by a parade of strippers and blow at the hustler club. that's just one idea i had tho, mod what are your thoughts?
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If it makes anyone feel any better, as I was leaving I saw a very small, defenseless woman carrying the print of the film downstairs and across the lobby.
I briefly flirted with the idea of knocking her down and making a break for it. San Francisco citizens are passive motherfuckers, man... I coulda done it.
But I didn't.
I could have taken it from town-to-town... been an underground film folk hero for two months.
Hope that helps.
No? Well, fuck.
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If it makes anyone feel any better, as I was leaving I saw a very small, defenseless woman carrying the print of the film downstairs and across the lobby.
I briefly flirted with the idea of knocking her down and making a break for it. San Francisco citizens are passive motherfuckers, man... I coulda done it.
But I didn't.
I could have taken it from town-to-town... been an underground film folk hero for two months.
Hope that helps.
No? Well, fuck.
haha, that would have been awesome. And we could decide who to let in to see it. I could watch it by myself because I don't like my friends if I wanted.
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CHERE-MAS-BLOOD
pozer here from the road back to LA. just wanted to chime in and say that i cant get the movie out of my head. mill chere more tomorrow... chust a bit more.
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Well, at least Pozer has an excuse since he was on the road driving back from the screening.
But the rest of you? SHAME ON YOU.
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This vomitus of praise is doing nothing but getting my hopes up!!!
If I had seen it, I would make a thread titled "Ask Stefen anything about CMBB and he will answer it!" and I would do it.
But that's just me. :yabbse-wink:
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Fine then. I'll write something, although I'm hesitant to because I feel like anything I type is going to come out like a rushed vomitus of praise that might be better suited for the "official compendium".
There Will Be Blood was one of the best films I've seen in years, and not just because it's a P.T. Anderson movie. I actually made a very concerted effort to block Magnolia, Boogie, and the rest from my memory, to pretend they had never existed for a brief moment because I didn't want my overall love of PTA's filmography to color the opinion of this work too much. As a stand alone piece, it is phenomenal. Viewed in light of the other films, it represents a leap in finding a new narrative voice that is strong(er), (more) distinct, and loud as hell. It will take multiple viewings and some time to truly decide, but right now, I'm going to predict that this is his best work yet, even if Magnolia still ends up being my favorite - who knows.
Pete's spoiler-free review in the child forum is spot on when he talks about how granulated the portrait of Plainview is. As grandiose as the themes of the movie are - many of which are common for a PTA film, especially that of the 'fractured family', the desolate male figure - it never feels too big in its scope, always returning to the story of this one man, the layers to his character, and how he personifies and interacts with larger issues (e.g., the commodification and perversion of religion, nationality and American identity, the dynamic between father and son, et cetera). It was the father/son story that I found most powerful during the first viewing.
Paul Dano. I mean, Paul DANO. DDL steals the show, for sure, but so much love needs to be thrown this kid's way. He may look like a fourteen-year-old, but he possesses a maturity and beautiful restraint in his acting - well, aside from the moments when he completely flips the fuck out - that makes him maybe the greatest young actor working today. Gosling, who?
The movie was paced perfectly, never dragging, and I disagree that the last twenty minutes felt rushed. Each part played out like a series of mini vignettes that, on their own, had such weight and were completely absorbing in every moment, and even when details were obscured or it was unclear what the next turn would be, they fit together so well. ("Jigsaw Falling Into Place") Kinda like listening to "Cuckoo Split/Convergence"? Which, by the way, I was listening to while trudging up a hill in S.F. this morning. Sort of weird. And, yeah, the score really is THAT GOOD.
The last line. The last scene. :shock:
On a no-go Xixax meetup:
Personally, I was and have been very crazed lately, so was only in touch with xerxes and pete that day. I thought it was hilarious that they were posting updates straight from The Castro. Why was no one live blogging?!? If anyone had decided to meet up, would we have pre-gamed it at pete's apartment?
thats exactly what i wanted to read, thanks lucid.
seriously, i'm at the point where reading "one of the years best films" is kind of a let down for me.
lucid, you should just edit out the spoiler so its not even in this thread. the review is great without it!
edit: added quote sans spoiler
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seriously, i'm at the point where reading "one of the years best films" is kind of a let down for me.
That's an interesting point.
For those who have seen it, would "best movie ever made" be out of line for this film? If not, perhaps I'm also a bit let down.
I'll still be having a nervous breakdown before opening day.
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seriously, i'm at the point where reading "one of the years best films" is kind of a let down for me.
That's an interesting point.
For those who have seen it, would "best movie ever made" be out of line for this film? If not, perhaps I'm also a bit let down.
I'll still be having a nervous breakdown before opening day.
Having a nerveous breakdown on Christmas could or could not bode well for you.
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The new issue of MEAN MAGAIZINE has a pretty good 4 page interview with Anderson for TWBB
http://www.meanmag.net/home.htm
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So... who's gonna transcribe it?
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i will tell you one thing, because i heart you all a ton
after brunch w/paul, him and his assistant were off to do the dvd after we had finished coffee and etc. he told me everything that will be on it. i can't say what will and what won't be there, but i can passively allude to you all to not get your hopes up for a commy track this time or ever again.
isn't it wonderful delivering terrible news! :/
cjw
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ladies and gentlemen, if i say this is one of the finest pictures ever made, you will agree...
(http://img258.imageshack.us/img258/6066/ggbridgeov2.jpg)
my ticket was purchased at ten after two in the afternoon from the castro theater. some were lined up at this point and had been since the early morn. forget that noise. i didnt travel over half our state ONLY to stand in line for theatrics. my time to wait would come after a walkabout in the city, a trolley ride up and down the streets of saint francisco and a bbq feast washed down by a few pints.
dessert would of course be blood and so the time came.
but it did happen
happily, i took my spot in line which wrapped around the theater at 6:20 in the pm. after a bit of ease dropping from silly chatter about, my associate whispered into my ear: "this is what we came here for?" i chuckled and simply replied, "no." and with that, the line began to move. inside the theater, a little bald man fittingly dressed in red, danced his fingers across keys to supply musical background to our talk of such things as how perfect the setting was for this affair. more silly chatter was all around: punch-drunk this, sydney that, charles fort hit me with a wiffle ball bat...
and then, suddenly but surely, out came pta pt ander the hard eight director to bring on the blood. and that he did. all systems go and all smiles the same right off the bat, though taken aback some by the flawed acoustics. but this was the minorest of distractions to a film that both breaks you and beats you in the end....
OH HE IS DOING THINGS AND I LIKE THEM. I COULD NOT HAVE IMAGINED HIS CAMERA WOULD DO SUCH THINGS AND GO SUCH PLACES, BUT IT DID AND I FOLLOWED. AND I GRINNED AS I DID SO. HE PAINTS HIS MOVING PICTURES, AND HE DID SO HERE WITH STRONGEST APPLIED PRESSURE TO HIS STROKES WHICH SLASH ACROSS THE SCREEN. I COULD ONLY IMAGINE HIS PALLET WAS THE UGLIEST OF ONES WHEN HE WAS FINISHED.... THAT MUSIC THAT IS GUIDING HIS THINGS ALONG IS TURNING MY GRIN INTO A SINISTER ONE. NEVER HAS A SOUNDTRACK CARRIED A TONE OF A PICTURE AS SUPERBLY AS THIS MIX HAS, AND ALL THE WAY THROUGH TO ITS HAUNTING END..... AND WHAT'S THIS? WHAT IS HE DOING THERE? THAT PERFORMER THERE? DAN YELLED, 'HEY LUIS' AND I LISTENED, ALL THE WHILE PUZZLED THAT THIS CREATURE IS CATERGORIZED AS AN ACTOR. BECAUSE HE IS ALIVE AS THIS MONSTER THAT LIES BEFORE ME. AND I BELIEVE HIS EVERY WORD AND DRIP OF SALIVA. HE NEEDS NOT ASK THE QUESTION, FOR HE DOES OWN THIS...... AND THAT OVER THERE IS LITTLE MISTER DANO WHO IS NOT FAR BEHIND BRINGING HIS EVERYTHING AND ACHEIVING THE SAME AMOUNT....... AND BY THE END OF ALL THIS, I TRULY WAS BROKEN AND BEATEN BY THESE........ THINGS.
there was blood indeed
ladies and gentlemen, somewhat dialog spoiler here my brothers from other mothers, there is much more to say about all this, but as of now this is the only way i could find to say it. it is the greatest achievement from both PAUL THOMAS ANDERSON and DANIEL DAY-LEWIS. there are three scenes in particular that are filled with such luminosity - they are masterful and stand with any scene kubrick has conducted. i awoke in my sleep that night in deep thought of what i witnessed on the screen in that theater. that theater which i left in the cold but was warmed by my own rush of blood. citizen who?
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pozer, i don't think there will be a better review for some time.
you win this thread.
even tho i think you said more than you realise.. some of those allusions will turn out to be spoilers i'm sure.
tremendous stuff. worth the wait. thank you.
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(http://i15.photobucket.com/albums/a369/ranemaka13/Threads.jpg)
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(http://img2.timeinc.net/ew/dynamic/imgs/071106/pt_l.jpg)
There Will Be Music
''There Will Be Blood'' director Paul Thomas Anderson and composer Jonny Greenwood (a.k.a. Radiohead's guitarist), chat about their unique collaboration on December's historical epic
By Chris Willman; Entertainment Weekly
**READ AT OWN RISK**
At or near the top of most cinephiles' list of the most exciting filmmakers working today is Paul Thomas Anderson. Fill in ''music fans'' and ''bands'' in the above construction, and Radiohead is the no-brainer choice to end that sentence. Now, Anderson and Radiohead guitarist Jonny Greenwood have teamed up. The director of such landmark films as Boogie Nights and Magnolia enlisted one of the main creative forces behind such landmark albums as OK Computer and Kid A to score the highly anticipated There Will Be Blood (opening Dec. 26). There will be strings... often abrasive, dissonant, disturbing, and always very loud strings.
Blood marks a departure for both mavericks, though maybe even a little more so for Anderson, who'd never done a period piece before tackling this tale of a misanthropic oil man (Daniel Day-Lewis) in California at the turn of the last century. Though it's not widely known, Greenwood is no neophyte to orchestration, having done one film score before (for an experimental documentary called Bodysong), in addition to being commissioned by the BBC to compose a piece called ''Popcorn Superhet Receiver,'' which is excerpted in Blood and helped get him this gig.
If you can't wait for the film to hit theaters at Christmas time, a soundtrack CD on Nonesuch will precede the movie. But if you really, really can't wait, EW got the two collaborators on the phone together, trans-Atlantically, to talk about their collaboration.
ENTERTAINMENT WEEKLY: Setting aside your new collaboration for a moment, could I ask you both to name a personal favorite of each other's previous work? Jonny, I was specifically wondering if there's anything about the way Paul has used music in his previous movies that stuck out for you. And Paul, do you have a favorite piece by Radiohead?
JONNY GREENWOOD: I'm feeling like I'm on Mr. and Mrs. [an English show equivalent to America's The Newlywed Game]... Punch-Drunk Love had such great music in it. I'm a sucker for pump organ. That was really cool.
PAUL THOMAS ANDERSON: What was the last song on Amnesiac, Jonny, was it ''Life in a Glass House''?
GREENWOOD: The Dixieland one!
ANDERSON: The Dixieland one makes me excited and melancholy and really satisfied every time I hear it. I love that song.
GREENWOOD: That's cool. The guys who played it, they're 84... and we were only supposed to have them there for two hours, and we kept them there all day and most of the night. [Laughs] It was touch and go. But that was a really fun day, recording a band like that. Yeah, I love that song, too.
ENTERTAINMENT WEEKLY: Paul, you have a dedication at the end of this movie to one of your heroes, Robert Altman. But this is one of your least Altmanesque films. A lot of it is one character out in the desert, with long silences suddenly giving way to screeching strings. It reminded me of 2001: A Space Odyssey, where Stanley Kubrick had the silence of space and then suddenly ''The Blue Danube'' or one of the more dissonant pieces he used.
ANDERSON: Well, it's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It can all seem like we're falling behind whatever he came up with. ''Singin' in the Rain'' in Clockwork Orange — that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind. The whole opening 20 minutes was meant to be silent. I always had a dream about trying to make a movie that had no dialogue in it, that was just music and pictures. I still haven't done it yet, but I tried to get close in the beginning.
GREENWOOD: Sometimes Paul would describe the thing as kind of close to the horror-film genre. And we talked about how The Shining had lots of Penderecki and stuff in it. So yeah. I think it was about not necessarily just making period music, which very traditionally you would do. But because they were traditional orchestral sounds, I suppose that's what we hoped was a little unsettling, even though you know all the sounds you're hearing are coming from very old technology. You can just do things with the classical orchestra that do unsettle you, that are sort of slightly wrong, that have some kind of undercurrent that's slightly sinister. Which is what's happening with this film sometimes. Part of what I picked up on and got excited about is that it's the end of the 19th Century. A lot of [things are] just implied, so it's not a horror film in that sense, because people are sort of being polite, but there's a sense of darkness going on at the same time. I love that kind of stuff, when things are unspoken.
ANDERSON: I guess when you have a title like that, the music better be a little bit scary.
ENTERTAINMENT WEEKLY: The score is extremely in-your-face in this film, as in all of Paul's movies. To love his films is really to go along with his musical choices. It's not like anyone could say, ''I loved the movie but hated the music.'' It's really integral — and loud. And it often stretches across different scenes.
GREENWOOD: You're right, when Paul puts the music in a film, it's very upfront. I realize now that I had an easy ride, really, in that it's the first time I've done anything like it, and I thought a film soundtrack would involve having to hit certain points and then duck out for people to say things, and [each cue] would all be over in exactly 63 seconds, or whatever. But instead, it's three minutes of all music [and no dialogue], to the image, quite often. It's mad, really. I was a bit like a kid in a candy store, in that I was just given free reign to write a lot of music with the film or certain scenes vaguely in mind. So I just wrote and wrote. I thought I'd have to be timing things, and the musicians would all have to play to click tracks. But it was the opposite to that. It felt like a really musical thing to be doing, although I'm sure that's not how it normally is for a soundtrack composer.
ANDERSON: To make a film, the final big collaborator that you have is the composer. Jonny was really one of the first people to see the film. And when he came back with a bunch of music, it actually helped show me what his impression of the film was. Which was terrific, because I had no impression. I had no idea what we were doing. And really, you have so many people that you collaborate with along this whole road of making a film, and you get to the end, and you're kind of face to face with two people really at the end: the editor and the composer. It's like the bottom of the Christmas tree. There's just the three of you standing, holding all of these people's work together, trying to make sense out of it. It was funny, because some of the stuff that Jonny came back with initially didn't make any sense to me at all. And he was smart enough to avoid me for a few days, so that I could let it all settle.
GREENWOOD: That's interesting, what Paul's saying about coming in later. It's a weird position to be in. It's only now I'm kind of realizing how weird that was, to be having fresh opinions about something that's already involved so many people.
ANDERSON: Or that you have the ability to ruin everybody else's good work...
GREENWOOD: Really ruin it! No, I think in the end, it's all right. I think we got away with it.
ENTERTAINMENT WEEKLY: Did you ask Jonny to score this film because of his Bodysong score, because of ''Popcorn Superhet Receiver,'' or just from being a Radiohead fan?
ANDERSON: I saw Bodysong at a film festival in Rotterdam on a rainy afternoon. I'd obviously been aware of Jonny's work with Radiohead and tried to follow that as much as I could, and I just fell in love with what he did for that film. It was near while I was about halfway through writing the film, I guess, [that he thought about Greenwood]. Then when I heard ''Popcorn,'' I just loved the sounds of it, and I just couldn't put my finger on what I liked about it. Because I would always hear it when it wasn't on, like a phantom limb, just the strange sounds of it. I had been listening to it over and over again, and then when not listening to it, would feel like I had left the stereo on in the other room or something.
GREENWOOD: That's mad, because that's exactly why I wrote that! That's really weird, that you saw that in it. The whole [conceptual] idea was about when you think there's some music playing, and there isn't. You know, like when you're doing a Hoover or a vacuum cleaner and you think there's a radio playing as well, and you turn it off, but there isn't any music on. That was the starting-off point for that piece, anyway.
ANDERSON: I just saw a report that people are reporting that they feel like their phone is buzzing in their pockets, even though they don't have their phone in their pockets.
GREENWOOD: Fantastic!
ENTERTAINMENT WEEKLY: Did the collaboration go smoothly?
ANDERSON: You know, I'm really not that competent at describing things musically. I think Jonny was probably amazingly patient with hearing some really long winded descriptions of things that made no reference to how you could do it musically.
GREENWOOD: It's funny, I found an early e-mail from Paul, and it just says ''I've got complete trust that what you do is going to be great. Don't worry. I believe it's going to be fine.'' I think I was slowly trying to back out, like a few months ago, thinking, I can't do this. I can't go on with this. It was a combination of [Anderson's reassurance] and just general enthusiasm for the whole project that just made me think it was going to be all right. And when that happens, you just always want to do your best for that person. I'm sure it was very sort of psychological mind games going on, to get me so happy. But it was a really happy time.
ANDERSON: By the same token, I just really wanted to do really right by Jonny, too, wanting to try to protect all these pieces that he made, and find the right use for them. There were some times where I was concerned with it a little too much, because there were so many things that were so wonderful, but just couldn't fit in the film. I was probably more despondent about it than he was.
GREENWOOD: It did feel like a lot of early drafts had too much music in them. But just being in a room full of string players, when they start up, whether it's an 80-piece orchestra or string quartet, is the most addictive sound.
ANDERSON: Just speaking for myself, it is such an intimidating set of circumstances to walk in and see 80 string players sitting there. I mean, I spent the better part of the first day, while incredibly excited, just completely terrified and paranoid. I went over to the corner and felt very out of place. But once I warmed up to it, God, it was thrilling. They were all so generous, too, and very inviting, and once you got to that place where you could actually stand down on the floor and feel not like an imposter but like a cheerleader or supporter and could actually ask for something, it felt great.
ENTERTAINMENT WEEKLY: Jonny, now that the Radiohead album In Rainbows has gotten out there for people to download and hear, how do you feel the release of the album went? Do you feel like you did the right thing, putting it out that way?
GREENWOOD: Yeah, I'm just glad that everyone's hearing it at the same time — because that was the point, really.
ENTERTAINMENT WEEKLY: With all this talk about the radical distribution model for the new Radiohead album, Paul, I wondered if what they did might have inspired you to think that maybe you should just put your new movie up on the web and let people pay whatever they want for it... I'm joking. I think.
ANDERSON: God, I mean, it's every person's dream, I suppose, to have ownership. Unfortunately, to make a film this size, it would be impossible to finance myself. I'd have to come up with something that I could do on a smaller scale so that I could do that. Because you don't get pride of ownership when you make a film. You get pride of authorship. And you get paid for it — that's the switch-off. But movies aren't far behind [music] in falling apart — I mean, the business itself. One of the films that I have the fondest memory of seeing is Gallipoli, because I knew absolutely nothing about it. My brother said, ''Let's go see this movie.'' And I said, ''What's it about?'' He said, ''I'm not going to tell you.'' And I hadn't seen the poster, I hadn't seen a trailer or anything, and it was such an amazing experience. [Talking about the Radiohead release] just made me think of it. To be able to just kind of get something as close to the bone as possible, without too much intrusion...
GREENWOOD: I'm a great one for reading movie reviews in, like, one second, and you think Oh, that's gonna be worth seeing. I don't know, it's like looking at the end of a book before you read it. It's best avoided, really, so you've got no idea what's coming.
http://www.ew.com/ew/article/0,,20155516_20155530_20158721,00.html
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that article is not very spoilery. i recommend to start at the end with the last question and work your way up. there's some good stuff in there about kubrick, giving away movies for free, other tings. the second question has a bit of detail about the first 20mins you might want to avoid, but it's minor stuff and the reply they give is spoiler free so you can read the A without the Q.
i havn't heard the score, i don't know how/why ppl would want to hear the score before seeing the movie.
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The new issue of MEAN MAGAIZINE has a pretty good 4 page interview with Anderson for TWBB
http://www.meanmag.net/home.htm
I read it in B&N earlier today. Nice interview. Didn't realize he shot some of TWBB on digital..?
By the way, I'm a new poster to the boards. Well, I registered a while back but just posting now as I've decided to stop lurking!
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By the way, I'm a new poster to the boards. Well, I registered a while back but just posting now as I've decided to stop lurking!
i remember you. you had a great av. do stick around.
one dog goes one way, the other dog goes the other way, and this guy's sayin, "whadda ya want from me?"
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Haha, cheers, will do!
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The new issue of MEAN MAGAIZINE has a pretty good 4 page interview with Anderson for TWBB
http://www.meanmag.net/home.htm
Didn't realize he shot some of TWBB on digital..?
I did catch that comment in the interview - i think it was a typo - he answers a question about digital aquisition formats by saying 'we couldn't have shot such bright exteriors if we hadn't used digital' - i believe it was meant to read ' we couldn't have shot such bright exteriors if we used digital'. The published comment doesn't make sense as written in the interview.
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man, this movie lingers with you DAYS AFTER!
lovelovelovelovelovelove the afterthoughts of this masterpiece! it is the first film in AGES where you actually feel good saying out loud to others 'it's a masterpiece.' example of what im trying to get across: 'i saw undertow. it's a masterpiece.' in my head: 'did i just say that out loud? i mean it is, but now he/she's gonna see it and go 'this movie is shite.'
i didnt even mention that the dialogue is the STRONGEST EVER. I truly mean this: EVER! and how HILARIOUS this movie is!
p.s. stay THE HELL away from imdb. the main review there has a spoiler that stuck with me and was pissed i knew about it when it came about in the film. there is also some crap bush/religion bashing film review that has ABSOLUTELY NO MERIT WHATSOEVER IN THE HISTORY OF THINGS THAT HAVE NO MERIT. i am officially DONE with reading any threads on imdb.
pubrick p.s. youre welcome, buddy. and i see how it may appear as gearing towards spoilerage but was meant solely as a hype machine.
p.p.s. wish i couldve at least said hello to ppl like lucid who were there. whered yall sit? i was on the side/middle kinda near the front. paul was RIGHT THERE in front of us. there wasnt a bad seat in the house, am i right?
p.p.p.s (or is it p.p.s.s?) did yall say hello to paul afterwards? what a treat, man. actually now i remember - i breezed by all of you to do so :yabbse-wink:
saw him crossing the street with posse afterwards while waiting for a taxi. we started to follow to see what bar he might end up at, but it quickly turned into this (http://www.youtube.com/watch?v=3DExkPNbo7I) so we moved on.
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saw him crossing the street with posse afterwards while waiting for a taxi. we started to follow to see what bar he might end up at, but it quickly turned into this (http://www.youtube.com/watch?v=3DExkPNbo7I) so we moved on.
haha the same thing happened with me and herzog the other week.
this movie needs to screen in philadelphia already.
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man, this movie lingers with you DAYS AFTER!
Yes!
The next morning, I woke up and the first thought I had was something from the film and the image, the moment, the sound involved with that moment just fucking stuck with me. It was something I'd clearly caught during viewing, but it obviously lodged itself far enough into m brain to stay there and it devoured me all day.
Everyone I've talked to since that would give a shit about this film has had to endure vague ramblings with me trying to emphasize how much of a triumph this film is without really saying anything about it.
I'm kind of glad I can't immediately go back and see this, which I would - many times over. Because there's no way for me to dillute the feelings that still stick with me from it.
I also read that imdb review calling the film anti-Bush and pro-liberal.... man, fuck that guy. That review didn't even warrent enough merit to be offended by.... just like most reviews on imdb, it existed only to take up space. This film is so much bigger, and deeper, and far more true than any political agenda passed into a film could be. Even if it hints at that, it's not concerned with that. It's ultimately so much more than that.
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Can someone who's seen it PM their aim or msn name so I can ask them questions about the ending? Usually I'd ask pete but he's not answering my messages and is probably trying to use his viewing as a way to trick a girl into having sex with him. Despicable.
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Who else is going to the LA screening?
"The event will be held Thursday, Nov. 15 at 7 p.m. at the Leonard H. Goldenson Theater, 5220 Lankershim Blvd., North Hollywood, Calif.
Admission is free. To RSVP, call (323) 956-1006. Seating is limited. Please arrive early."
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JESUS FUCKING CHRIST!
I THINK WE HAVE CALIFORNIA COVERED!
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Who else is going to the LA screening?
(http://images.jupiterimages.com/common/detail/57/48/23444857.jpg)
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ill be there.
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JESUS FUCKING CHRIST!
I THINK WE HAVE CALIFORNIA COVERED!
It fucking sucks. If they don't announce a special screening for Upper Peninsula of Michigan I'll just die.
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worst marketing ever.
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As soon as I saw "FUCK YOU L.A." under the forum I knew it was good! I'll be there. Even if it is in the valley...
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i still don't know when it's coming to aus. but rest assured it will be around the same time or later, maybe even after the oscars. it sucks that i'm gonna hav to get my hands on a screener or even the US dvd release itself and spoil it on a small screen if i wanna make through 2008 alive.
IMDb has 1 January 2008, and I don't know why it has that date as in the front page since I'm in México and it should have the Mexican release date, of course as for this moment there isn't a release date for us, but I couldn't care less about it, I'll go to either to Laredo or McAllen Tx. to see it. If Cron or alexandro want to join me they're welcome. :yabbse-smiley:
feel free to post non-spoiler reviews here, though!
please NOW!
are there good theaters in laredo or mcallen?
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The screening will be followed by a Q&A with Anderson and Day-Lewis.
worst marketing ever.
author of curious george getting murdered as the movie was coming out was worst marketing ever.
this spill is hopefully a sign of things to come for LA.
and the excessive west coast love is PTA's way of getting back at NYC for the bedbugs. am i right ppl?
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I'll be there......Yes, so happy and on my birthday too....what a great gift.
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The worst thing about Magnolia is that it doesn't take place in NYC. That's probably my biggest beef with the flick.
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Shit. The mailbox for the RSVP number is full. They better clear it out!
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(http://graphics8.nytimes.com/images/2007/11/11/magazine/11day1902.jpg)
The New Frontier’s Man
By LYNN HIRSCHBERG; New York Times
IN 1976, WHEN HE WAS 19, Daniel Day-Lewis, who is British and was trained in the grand theatrical tradition of Shakespeare and the classics, saw “Taxi Driver” and, despite the considerable weight and seeming obligation of his heritage, realized that what he longed to be was an American actor. “It was a real illumination,” Day-Lewis told me late in August as he sat at the rough wood dining table of a duplex apartment in downtown Manhattan, where he and his wife, Rebecca Miller, and their two boys stay when in New York. “I saw ‘Taxi Driver’ five or six times in the first week, and I was astonished by its sheer visceral beauty. I just kept going back — I didn’t know America, but that was a glimpse of what America might be, and I realized that, contrary to expectation, I wanted to tell American stories.” It was raining hard outside, and Day-Lewis, who has the look of an elegant vagabond, was wearing clothes seemingly chosen many years ago for their utility and subtle details. His loose denim jeans were worn soft and white by use and the once-vibrant red plaid of his shirt had aged into a warm maroon. Day-Lewis is tall and lean and has tattoos circling his lower arms and the permanently inked handprints of his and Miller’s two sons climbing up his body to his shoulders. There were gold loops in each earlobe, and although he had left his sturdy, beat-up leather work boots outside the front door and was padding around in his socks, Day-Lewis still had a kind-of-jaunty porkpie hat on his head. The hat covered his long black hair and set off the contours of his face, which is dominated by his noble, bashed nose.
“Where I come from, it was a heresy to say you wanted to be in movies, leave alone American movies,” Day-Lewis continued, as he ate a chicken-salad sandwich. “We were all encouraged to believe that the classics of the theater were the fiery hoops through which you’d have to pass if you were going to have any self-esteem as a performer. It never occurred to me that that was the case. One of the great privileges of having grown up in a middle-class literary English household, but having gone to school in the front lines in Southeast London, was that I became half-street-urchin and half-good-boy at home. I knew that dichotomy was possible. England is obsessed with where you came from, and they are determined to keep you in that place, be it in a drawing room or in the gutter. The great tradition of liberalism in England is essentially a sponge that absorbs all possibility of change. America looked different to me: the idea of America as a place of infinite possibilities was defined for me through the movies. I’m glad I did the classical work that I did, but it just wasn’t for me. I’m a little bit perverse, and I just hate doing the thing that’s the most obvious.”
Day-Lewis laughed and drank some grapefruit juice. While he may appear a bit rough, his demeanor is courtly. You have to possess something utterly to push it away, and whether it’s his extreme good looks, which he obscures beneath the trappings of a bohemian pirate, or his cultured background, which he disparages, Day-Lewis has an intense attraction to the opposite of whatever he came by easily. He is particularly compelled by the idea of spontaneity, but there is nothing sloppy or haphazard about him, and that lends Day-Lewis, despite his careworn clothes, a quality of grace. He is most voluble and passionate on the subject of film. He loves even bad movies and likes to analyze the work of actors past and present. Day-Lewis reveres the greats — Brando, DeNiro — but he is intrigued by all kinds of performances. He dislikes John Wayne, loves Gary Cooper, prefers the Jimmy Stewart of Capra’s classic pictures to the Stewart of Anthony Mann’s westerns and is fascinated by Clint Eastwood. “I used to go to all-night screenings of his movies,” Day-Lewis recalled. “I’d stagger out at 5 in the morning, trying to be loose-limbed and mean and taciturn.” He paused. “My love for American movies was like a secret that I carried around with me. I always knew I could straddle different worlds. I’d grown up in two different worlds and if you can grow up in two different worlds, you can occupy four. Or six. Why put a limit on it?”
Since 1992, when he deftly navigated two identities as Hawkeye, the heroic white frontiersman raised as a Native American, in “Last of the Mohicans,” Day-Lewis has played many Americans. If Martin Scorsese, who is, of course, the director of “Taxi Driver,” had not been the one to approach him about the role of the vaguely Eurocentric Newland Archer in “The Age of Innocence,” he would have turned it down. “Too English,” Day-Lewis explained. “I was hoping he’d ask me to do something more rough-and-tumble.” When Scorsese did, with “Gangs of New York,” in 2000, Day-Lewis thrilled to the chance to play Bill the Butcher, a violent king of the city. In his latest film, “There Will Be Blood,” which opens next month and was written and directed by Paul Thomas Anderson, Day-Lewis portrays a man who is searching for his fortune in oil in turn-of-the-century California. The character is loosely based on Edward Doheny, who started out as an itinerant prospector looking for gold and silver and became the millionaire who headed the Pan American Petroleum and Transport Company. “There Will Be Blood” is about the lure of the West, the intoxicating sense of freedom and opportunity that can be found in new lands and the costs of huge and sudden success. There are shades of current politics in the film — the oil and the greed still resonate — but it is, mostly, a “Citizen Kane”-esque character study about the corrupting desire for power and riches. The tale it tells is, in many ways, a story about what is right, and wrong, with America.
“I was deeply unsettled by the script,” Day-Lewis said. “For me, that is a sure sign. If you remain unsettled by a piece of writing, it means you are not watching the story from the outside; you’ve already taken a step toward it. When I’m drawn to something, I take a resolute step backward, and I ask myself if I can really serve this story as well as it needs to be served. If I don’t think I can do that, no matter how appealing, I will decline. What finally takes over, what took over with this movie, is an illusion of inevitability.” Day-Lewis smiled. “I think: Can this really be true? Is this happening to me again? Is there no way to avoid this?”
IT WAS COMMENTS LIKE THESE that have led Jim Sheridan, the director of three films starring Daniel Day-Lewis — including 1989’s “My Left Foot,” for which he won the Academy Award for Best Actor — to remark that Day-Lewis “hates acting.” Sheridan says he believes that Day-Lewis completely rejects the idea of “acting” an emotion or moment. Instead, like the greats he admires (Brando and De Niro, before they started working for the money), he needs to fully embody a character. That sort of detailed, engulfing work is time-consuming and enervating. Which partly explains why Day-Lewis has long gaps between roles and has only made four films in the last 10 years.
Part of Day-Lewis’s hesitation comes from the knowledge that his method of working demands near-total immersion in the life of his character. Despite the fact that he is the most eloquent of men, able to speak extemporaneously in flowing paragraphs without the use of colloquialisms, he is unwilling to expose the mechanics of his acting process. “It’s not that I want to pull the shutters down,” Day-Lewis said, as he finished his sandwich. “It’s just that people have such a misconception about what it is I do. They think the character comes from staying in the wheelchair or being locked in the jail or whatever extravagant thing they choose to focus their fantasies on. Somehow, it always seems to have a self-flagellatory aspect to it. But that’s just the superficial stuff. Most of the movies that I do are leading me toward a life that is utterly mysterious to me. My chief goal is to find a way to make that life meaningful to other people.”
As a teenager, Day-Lewis studied woodworking and, true to the divide in his nature, he wanted to become a craftsman — a maker, rather than a designer, of furniture. He enjoyed the tools, the workshop, the construction. Before he applied to theater school, the Bristol Old Vic (“I picked just one because then it would be a sign from the gods if it was not meant to be,” Day-Lewis explained), he applied for an apprenticeship with a well-known cabinetmaker. When he was accepted at drama school, he committed himself fully to acting, but Day-Lewis never gave up his interest in the process of honing a skill. For his films, at least initially, imagining the life of his characters often involves a kind of physical invention of their world. During “Last of the Mohicans,” he built a canoe, learned to track and skin animals and perfected the use of a 12-pound flintlock gun, which he took everywhere he went, even to a Christmas dinner. He was first attracted to “My Left Foot,” the story of Christy Brown, a man with cerebral palsy who became a renowned painter and writer in Ireland, by the opening scene of the script: Christy’s left foot puts a record on a turntable, there’s a skip and the foot picks the needle up and then puts it down again. “I knew it couldn’t be done,” Day-Lewis said, “and that intrigued me.” After weeks of practice and eight weeks spent with cerebral-palsy patients, Day-Lewis mastered the scene on the first take. For “There Will be Blood,” he studied the historic period for nearly two years and became comfortable with the tools of California oilmen circa 1900.
But that research, as well as the kitchen table he built for “Ballad of Jack and Rose” and the heavy knives he learned to throw for “Gangs of New York” and the scent that he thought Newland Archer would favor in “The Age of Innocence,” is all just a preliminary inquiry into what, finally, emerges on screen, fully drawn. Those details, however interesting, are like mood lighting — they set the stage for seduction, but they do not explain how Day-Lewis melds with the characters he conjures.
“This work requires an unusual combination of qualities,” Day-Lewis said. He picked up a colander full of washed cherries and headed into a small cozy den off the large rectangular living room. The apartment was sparsely decorated with comfortable chairs and a well-worn pale blue sofa. The couch was piled with folded bedding — his younger son, Cashel, had left his bed upstairs and slept there. “He wanted to be nearer to us,” Day-Lewis remarked. There was a large, perfectly realized model sailboat placed on a low table. “That was a gift from Rebecca,” Day-Lewis said. “One of the few things I did with my dad was sail a boat in the round pond at Hyde Park.” A beautiful bleached-wood grandfather clock stood against the kitchen wall, and a large painting of a vivid garden hung in the entry to the master bedroom. “I did that one,” Day-Lewis said, as he sat on a low desk chair. Strewn on the floor around him were several motorcycle magazines: one of Day-Lewis’s passions is MotoGP, the competitive bike tournament, which is popular everywhere (although somewhat less so in America). This summer, he borrowed a GSXR 1000 bike and rode at 120 m.p.h. from Los Angeles to Laguna Seca to cheer on his hero, the legendary champion Valentino Rossi. When Day-Lewis spoke about Rossi, it was in the same adulatory tones he reserved for De Niro, Brando and Montgomery Clift. “I’m a groupie,” he said. “Rossi is a genius. There are some parallels between what he does and what those actors do — his work requires both a great deal of discipline and a wildness of spirit. With acting, there is always that intangible aspect that goes beyond the practical framework. Brando had that — the freedom that he had was more the instinctive freedom of an animal at times than a human. And De Niro! The world he offered in his performances had a palpable humanity. I was utterly sure that he was that man in ‘Taxi Driver.’ I have no idea by what means he arrived at that but, I dare say, at some point, he convinced himself that he was that man too.”
Part of what Day-Lewis admires so much about American movies is their lack of insistence on the kind of brilliant dialogue that characterizes much of the theater. He disparages the idea of clever talk, or the British gift for language. Day-Lewis bristled when I mentioned, admiringly, that he was so articulate. “I am more greatly moved by people who struggle to express themselves,” he said, sounding a little misunderstood. “Maybe it’s a middle-class British hang-up, but I prefer the abstract concept of incoherence in the face of great feeling to beautiful, full sentences that convey little emotion.”
Day-Lewis paused and ate a few cherries. “It was always assumed that the classics were a good line of work for me because I had a decent voice and the right nose. But anybody who comes from an essentially cynical European society is going to be bewitched by the sheer enthusiasm of the New World. And in America, the articulate use of language is often regarded with suspicion. Especially in the West. Look at the president. He could talk like an educated New Englander if he chose to. Instead, he holds his hands like a man who swings an ax. Bush understands, very astutely, that many of the people who are going to vote for him would regard him less highly if he knew how to put words together. He would no longer be one of them. In Europe, the tradition is one of oratory. But in America, a man’s man is never spendthrift with words.” Day-Lewis smiled. “This, of course, is much more appealing in the movies than it is in politics.”
WHEN DANIEL DAY-LEWIS agreed to star in “There Will Be Blood,” the writer-director Paul Thomas Anderson suggested he watch a number of films, including “The Treasure of the Sierra Madre,” which is a kind of existential western. The 1948 film, which stars Humphrey Bogart, follows three Americans as they hunt for gold and find wealth in Mexico. Like many westerns, the movie is moralistic at heart: the character of the men is tested by their sudden good fortune and, to quote from the film’s director John Huston, they “stew in their own juice.”
“It’s my favorite movie,” Anderson told me one afternoon in early October. The writer-director of “Boogie Nights” and “Punch Drunk Love,” among other films, Anderson has always seemed interested in how fate intersects with character, especially in the openness of California. “All of life’s questions and answers are in ‘The Treasure of Sierra Madre,’ ” he said. “It’s about greed and ambition and paranoia and looking at the worst parts of yourself. When I was writing ‘There Will Be Blood,’ I would put ‘The Treasure of the Sierra Madre’ on before I went to bed at night, just to fall asleep to it.”
Anderson began writing the script when he came across the muckraking novel “Oil!” by Upton Sinclair, in a bookstore in London. “I was homesick,” he recalled, “and the book had a painting of California on the cover.” He ended up adapting only the first 150 pages of “Oil!” whose main character was a composite of many men, among them Edward Doheny. “After a few trips to Bakersfield, where they have museums devoted to the early oilmen, I started to get a sense of the film. The museums are largely trailers with a lot of oil equipment lying around the yard. Back in the day, enough people had cameras, and they took a lot of pictures. Oil fields were an interesting thing to photograph, and that research made it easy to put the pieces of their times together.”
The movie concentrates on the financial ascent and spiritual decline of a Doheny-like figure. “Doheny set out from the East Coast at the tail end of the wild, wild West,” Anderson continued. “Men from all over the country were coming out to the New Mexico territory to make their fortune. And they started looking for oil using many of the same techniques that they had used to look for silver.” Day-Lewis was struck by their zeal. “I read a lot of correspondence dating from that period,” he told me in his apartment. “Decent middle-class lives with wives and children were abandoned to pursue this elusive possibility. They were bank clerks and shipping agents and teachers. They all fled West for a sniff of cheap money. And they made it up as they went along. No one knew how to drill for oil. Initially, they scooped it out of the ground in saucepans. It was man at his most animalistic, sifting through filth to find bright, sparkly things.”
“There Will be Blood” presents a quintessentially American story of manifest destiny twinned with the lessons of a parable. “Back then,” Day-Lewis said, “men would get the fever. They would keep digging, always with the idea that next time they’ll throw the dice and the money will fall out of the sky. It killed a lot of men, it broke others, still more were reduced to despair and poverty, but they still believed in the promise of the West.” In the movie work he chooses to accept, Day-Lewis is often drawn to the push-pull of ambitious dreams and their consequences, as reflected in a kind of frontiersman. Daniel Plainview, in “There Will Be Blood,” is in certain ways a curdled version of the man playing him: the fever can grip an actor too.
It was difficult to raise the money for “There Will Be Blood,” which gave Day-Lewis almost two years to prepare for the role. He spent nearly all that time in Ireland, where he and his family live for much of the year in a home in the countryside outside Dublin. “I like to learn about things,” Day-Lewis said. “It was just a great time trying to conceive of the impossibility of that thing. I didn’t know anything about mining at the turn of the century in America. My boarding school in Kent didn’t exactly teach that.”
When filming started in June 2006 on a ranch in Marfa, Tex., Day-Lewis arrived in the character of Daniel Plainview. Anderson tried to shoot the script in sequence and most of the sets (with the notable exception of the real Doheny mansion, which has an in-house bowling alley and which is located in Beverly Hills) were within the confines of the vast ranch. “The ranch,” Day-Lewis recalled, “allowed you to have the illusion of an adventure that’s shared to the exclusion of all other things and people. We were drilling for oil, and that was that.”
Halfway through the 60-day shoot, Anderson realized that the second lead actor, who plays Plainview’s nemesis, was not strong enough. He was replaced by the versatile young actor Paul Dano, but three weeks of scenes with Day-Lewis needed to be reshot. During “Gangs of New York,” Day-Lewis would stay in character and deliberately glare at his co-star, Leonardo DiCaprio, mirroring the contentious dynamic that these men had in the film. While DiCaprio withstood the pressure (and Dano thrived on it) there are reports that the first actor suffered from intimidation. “It just wasn’t the right fit,” Anderson explained diplomatically.
“In the beginning on ‘There Will Be Blood,’ ” Day-Lewis recalled, “we were struggling.” He looked almost gleeful. “It’s always what doesn’t work that is most useful.” Of course, this sounds more like a Brit than an American. There’s a subtlety in Day-Lewis’s performance in this movie that may stem from his outsiderness. He grew up on Shakespeare, not westerns, and as a result, he is not steeped in clichés about oil barons, prospectors and their ilk. Unlike an American actor who might have approached the project with big archetypes in mind, Day-Lewis invented the character. Which is more or less what the West has always allowed.
ON AN UNUSUALLY WARM and bright day in September, Day-Lewis was driving his black, beat-up BMW through the narrow country roads in the gorgeous, undeveloped tree-covered mountains south of Dublin. We took a crossroad called Sally Gap, heading up a steep climb toward a spot called Luggala, where the view, Day-Lewis hinted, would, in some fundamental way, explain all that he loved about this country. He began visiting Ireland with his father, Cecil Day-Lewis, the poet laureate of England, when he was 4. Cecil, like Daniel, occupied many worlds: he was born in Ireland, and every summer, Daniel and his older sister, Tamasin, were taken to live in country inns along its western coast. “It was glorious,” Day-Lewis said. He was wearing a burgundy corduroy shirt, pants in a faded mustard check and a belted olive green rain jacket that was so weatherbeaten the thick cotton had softened to suede. He clearly loved the road and was an excellent driver. “From the day we arrived here,” Day-Lewis continued, “my sense of Ireland’s importance has never diminished. Everything here seemed exotic to us. Just the sound of the west of Ireland in a person’s voice can affect me deeply.” In 1993, after spending much of his time there, Day-Lewis also obtained an Irish passport and now holds dual citizenship. “I dare say it was still considered to be an abandonment of England,” he remarked, as he neatly passed a quickly oncoming car. “A betrayal! A heresy! It is not expected that someone from my background will leave England. But I’ve committed so many heresies that there’s no sense in not making the final gesture.”
Cecil Day-Lewis was also deeply drawn to Ireland and wrote “The Whispering Roots and Other Poems,” which underscored his ancestral ties to the country. When Daniel was born, his father announced his birth by publishing a poem entitled “The Newborn.” In part, it reads: “We time-worn folk renew/Ourselves at your enchanted spring,/As though mankind’s begun/Again in you./This is your birthday and our thanksgiving.”
At the time of Daniel’s birth, Cecil Day-Lewis was 53. He had worked as a translator and had written pulp novels under an alias. One, “The Smiler With the Knife,” a spy thriller with a political theme, was adapted for the movies by Orson Welles, but the film was never made. Cecil Day-Lewis was a Communist in his 30s and was close to W. H. Auden and Stephen Spender. Daniel’s mother, Jill Balcon, was his father’s second wife and an actress whose father, Sir Michael Balcon, was the head of Ealing Studios, one of England’s predominant film studios. Cecil, like a good socialist, sent Daniel to a public school in South London rather than a posh academy. When his parents realized that Daniel was not being properly educated, they enrolled him in boarding school, where he was miserable. Finally, Daniel attended a progressive school called Bedales. Day-Lewis’s academic travails introduced him to a wide range of British society. “I came from the educated middle class,” Day-Lewis said, “but I identified with the working classes. Those were the people I looked up to. The lads whose fathers worked on the docks or in shipping yards or were shopkeepers. I knew that I wasn’t part of that world, but I was intrigued by it. They had a different way of communicating. People who delight in conversation are often using that as a means to not say what is on their minds. When I became interested in theater, the work I admired was being done by working-class writers. It was often about the inarticulate. I later saw that same thing in De Niro’s early work — it was the most sublime struggle of a man trying to express himself. There was such poetry in that for me.”
When he was in his early teens, Day-Lewis performed a one-boy version of Harold Pinter’s “Dumb Waiter,” and he was an extra in the film “Sunday Bloody Sunday.” “I was just a local kid,” he said, as he whizzed past a busload of tourists out to see the countryside. “I got to come out of the church, the same church where I sang in the choir, and scratch up a row of cars — a Jag, a Bentley — parked in front. I thought, I get paid for this! Years later, I saw the director, John Schlesinger, at the Edinburgh festival, where we were showing ‘My Beautiful Laundrette.’ I play a hooligan punk in that too. I said to Schlesinger, I guess I haven’t progressed much.”
In 1975, he revised his performance in “The Dumb Waiter” and auditioned for the Bristol theater school. “I thought my heart would break if I didn’t get in,” he told me. At school, Day-Lewis immediately bristled at being boxed into the classics (“One teacher was always trying to throw a cloak around me”) but took refuge in the work of Barrie Keefe, a Thatcher-era playwright, who wrote vivid dispatches from working-class life.
Day-Lewis also studied a form of acting rooted in the Stanislavsky System. “It was like happening on utopia,” he said, as we continued up the mountain. “The thing that Stanislavsky lays out is how you do the thing the first time every time — 1,000 times. That’s the idea you’re always searching for.” Sir Laurence Olivier famously dismissed Stanislavsky’s teachings; the technique was much more accepted by American actors. “Olivier might have been a much better actor on film if he hadn’t had that flippant attitude,” Day-Lewis said with annoyance. “Olivier was a remarkable actor, but he was entirely missing the point consistently. He felt that film was an inferior form.” Day-Lewis paused. “For a few years at school I tried to play the roles they wanted me to play, but it became less and less interesting to ponce around the place. Even now, when I sometimes think of doing a play, I think of rehearsal rooms and people hugging and everyone talking over cups of coffee because they are nervous. It’s both very touching and it makes me a little nauseous and claustrophobic. Too much talk. I don’t rehearse at all in film if I can help it. In talking a character through, you define it. And if you define it, you kill it dead.” Day-Lewis paused. “I’ve managed to create a sense of banishment in so many different areas of my life. I live in Ireland, not England. I make films in America. And now I’m banished from the theater because I’ve slagged it off so much. And I did the unspeakable thing of fleeing from ‘Hamlet.’ ”
His voice trailed off. The last time he was onstage was during a 1989 production of “Hamlet” at the National Theatre in London. Day-Lewis had already begun appearing in films, and “My Left Foot” was about to win him an Oscar. During the play, he had a strange sensation that he was talking to his father, who died of pancreatic cancer when Day-Lewis was 15. Unnerved, he walked off the stage and never returned to that stage or, to date, to any other. Those close to Day-Lewis warned me not to bring up the “Hamlet” incident, and I didn’t, but it clearly was a moment of demarcation: he realized his place was elsewhere.
“Enough talk,” Day-Lewis said as we roared more quickly up the mountain. He slid a CD of Irish folk music by the band Planxty into the sound system, and the car was filled with layers of mandolins and guitars. “Nothing I say will be more eloquent than this music,” Day-Lewis said. The soundtrack was a perfect accompaniment to the endless gray sky, which seemed to collide with the brilliant green of the trees. After five minutes of music and nature and increasingly steep, narrow roads, Day-Lewis neatly parked the car near the brim of a cliff. The view was magnificent. He got out of the car and stood in the wind, staring out at the countryside. “It’s easy to love humanity when you’re this far away from it,” he half-joked. “But, truly, there’s a quality of wildness that exists in Ireland that coincides with utter solitude. This place has always contained the spell for me.”
BEFORE HE BEGAN telling American stories, Day-Lewis wanted to tell Irish stories. In 1985, after his breakthrough role as the gay street punk in “My Beautiful Laundrette” and a subsequent part in Merchant-Ivory’s “A Room With A View,” Day-Lewis resisted the idea of playing English men in English movies. “Why would I want to play middle-aged middle-class Englishmen?” Day-Lewis remarked as we sat in Hunter’s Hotel in a town called Rathnew. The small room was cozy, with chintz-covered chairs, and a fire was burning. “It’s a bog fire,” Day-Lewis explained. “It has the smell of earth.” Day-Lewis ordered tea and scones and removed his tweed cap. When he was younger, the proprietor scolded Daniel and a drunk friend, who threw up in the fireplace, putting out the flames. “She said, ‘Several generations of guests in proper attire have been coming here,’ ” Day-Lewis recalled. “ ‘I hope you’re not going to lower the tone.’ ” He laughed at the memory. There is something about Ireland that reassures and bolsters his rebellious spirit. In England, perhaps he feared he would be squelched, made ordinary, old. He intentionally chose to play the priggish, snobbish Cecil Vyse in “A Room With A View,” he said, in order to “understand what it is to be that man and thereby avoid the possibility of ever becoming him.” And that sealed it — he took his career to Ireland and America.
During the making of “My Left Foot,” Day-Lewis found a slow, meticulous way that he could work. “I needed — and I still need — to create a particular environment,” he said as the tea was placed on a low brass table. “I need to find the right kind of silence or light or noise. Whatever is necessary — and it is always different. I know it sounds a little fussy and a little ridiculous, but finding your own rhythm is one of the most important things you can discover about yourself. And you have to observe it. As actors, we’re all encouraged to feel that each job is the last job. They plant some little electrode in your head at an early stage and you think, Be grateful, be grateful, be grateful. So, it’s not without a sense of gratitude that I work. But I couldn’t do this work at all unless I did it in my own rhythm. It became a choice between stopping and taking the time I needed.”
He has had blue periods — depressions and retreats, even after the success of the early movies. After the filming of Milan Kundera’s novel “The Unbearable Lightness of Being,” in which he played Tomás, a womanizing Czech surgeon reluctantly drawn into the country’s politics, Day-Lewis considered giving up acting. “I was hopelessly at sea,” he told me, buttering a scone. “I was extremely unhappy most of the time. I think I probably felt I’d made a fundamental error in agreeing to do that movie even though it was the part and the film that everyone wanted to do. And God help us, that is, in itself, a reason not to do something.”
After the movie was completed, Day-Lewis and Hanif Kureishi, the writer of “My Beautiful Laundrette,” would telephone each other and share dark passages from Milton. Day-Lewis eventually took off and wandered though Europe with a small watercolor kit. In 1989 or so, he began a romance with the French actress Isabelle Adjani (another topic I was instructed not to mention), and they had a son, Gabriel, in 1995. She was a Buddhist, and he took to wearing a red cord around his neck that had been blessed by the Dalai Lama. But the relationship with Adjani was tumultuous; Gabriel lives with his mother, and Day-Lewis did not speak to me about him. He is clearly devoted to his two young sons with Miller. He repeatedly marveled at their abilities: Ronan (who is 9) draws beautifully and has a devastating right cross punch; Cashel (who is 5) has a potent imagination; they both loved Texas, and each perfected their father’s accent in “There Will be Blood.”
Before his marriage to Miller and the birth of their children, Day-Lewis would actively try to remove himself from what was familiar, going wherever his work or character took him. With the role of Christy Brown in “My Left Foot,” he found a kind of refuge. “I learned how to soundproof myself,” he said, taking a bite of scone. “Playing the part of Christy Brown left me with a sense of setting myself on a course, of trying to achieve something that was utterly out of reach.”
He eventually made two more Irish films with Jim Sheridan, the director of “My Left Foot.” For “In the Name of the Father,” the story of Gerry Conlon, who was imprisoned for an act of terrorism he never committed, Day-Lewis spent time in prisons and, for an interrogation scene, went three days without sleep. For “The Boxer,” he learned to box to play the main character, another Irishman caught up in the Troubles in Belfast. “I wanted to see if I loved the sport, because if I didn’t love the sport, I wouldn’t want to tell the story,” Day-Lewis said. He found certain parallels between boxing and acting. “At its best, boxing is very pure. It requires resilience and heart and self-belief even after it’s been knocked out of you. It’s a certain kind of a test. And it’s hard: the training alone will kill you. And that’s before people start giving you a dig.”
In 1991, Day-Lewis was offered “Last of the Mohicans,” which required him to illustrate the history of a country he knew almost nothing about. Day-Lewis had barely visited America (the first time was on a day trip to Seattle for “My Beautiful Laundrette” when he was in his 20s), and he had never studied the country in any detail. What he knew of America came largely from the movies. “ ‘Last of the Mohicans’ seemed impossible,” Day-Lewis told me. “It scared the life out of me.” For the first time, Day-Lewis was also being packaged and sold by a major Hollywood studio. Posters for “Last of the Mohicans” shouted, “the first American hero,” with a close-up of Day-Lewis’s face. “That was, and will always be, difficult for me,” Day-Lewis said tightly. “The work itself is never anything but pure pleasure, but there’s an awful lot of peripheral stuff that I find it hard to be surrounded by. I like things to be swift, because the energy you have is concentrated and can be fleeting. The great machinery of film can work against that. I have never had a positive reaction to all the stuff that supposedly promotes the film. The thought of it will make me hesitate to do any films at all.”
And yet, there were those he yearned to work with. Day-Lewis met Martin Scorsese when the director was planning to direct “Schindler’s List.” “I thought that would be something very interesting to do,” Day-Lewis said, as he poured a cup of tea for me. “But then the project went to Spielberg. When I met Martin at the Beverly Wilshire Hotel, I wanted to pick him up and cuddle him. He is a mighty man, and when he asks you to do something, you want to do it. I was struggling to escape from English drawing rooms, but because of Martin, I accepted the role in ‘The Age of Innocence.’ ”
In 1996, he met Rebecca Miller after he completed the film version of “The Crucible,” which was based on the play written by her father, Arthur Miller. Although she had worked as an actress, Miller, who is tall with dark hair and bright blue eyes, had just written and directed her first feature film: “Angela,” the story of a troubled young girl. Miller has a quiet, intense only-girl-among-the-guys quality. She and Day-Lewis, both children of renowned writers, have, in many ways, a shared past. They also share a fascination with film (they wrote a comedy together). Recently, Day-Lewis and Miller attended a screening of a documentary about a Laotian who immigrated to the United States after the Communist takeover of his country in the ’70s. (Ellen Kuras, who was the cinematographer on Miller’s first film, “The Ballad of Jack and Rose,” was one of the directors.) At the end of the film, Day-Lewis seemed particularly moved by the losses the man and his family endured. Almost instinctively, Miller ran her hand through his hair. It was a gesture of comradeship, as well as kindness.
After the birth of their children, Day-Lewis seemed in no hurry to go back to work. For five years, he pursued various interests: he even briefly apprenticed as a cobbler in Italy (at the Manolo Blahnik store in New York, Day-Lewis has been known to spend an hour studying the construction and design of the shoes). “I was not thinking about going back to work,” Day-Lewis said now. “I was in dread when I knew Martin was looking for me. I was in dread of the thing that I’d been most hoping for. And that’s how it works.” He paused. “Before I start a film,” he continued, “there is always a period where I think, I’m not sure I can do this again. I remember that before I was going to start ‘There Will Be Blood,’ I wondered why I had said yes. When Martin told me about Bill the Butcher in ‘Gangs of New York,’ I wanted to change places with that man. But even then, I did not say yes right away. I kept thinking, I’m not sure I can do this again.”
Because of his commitment to a character, Day-Lewis has a very difficult time disengaging from a part. “There’s a terrible sadness,” he told me. “The last day of shooting is surreal. Your mind, your body, your spirit are not in any way prepared to accept that this experience is coming to an end. In the months that follow the finish of a film, you feel profound emptiness. You’ve devoted so much of your time to unleashing, in an unconscious way, some sort of spiritual turmoil, and even if it’s uncomfortable, no part of you wishes to leave that character behind. The sense of bereavement is such that it can take years before you can put it to rest.”
Since he often absents himself from the movies for years, the belief persists that Day-Lewis is indifferent or not completely committed to remaining an actor. “That is an amazing misconception,” Paul Thomas Anderson told me. “Daniel loves acting so much that it becomes a quest for perfection. People don’t know how Daniel can do this job the way that he does it, and my feeling is, I just can’t understand how anyone could do it any other way.”
Strangely, Day-Lewis has only infrequently played men of the present day. Before he met Miller, she asked him to star in “The Ballad of Jack and Rose,” but he turned it down. In 2004, he agreed. Something about playing a dying man who has a nearly incestuous relationship with his 16-year-old daughter (and the fact that his wife was the director) engaged him. While making the film on Prince Edward Island, Day-Lewis lived apart from Miller and their children, during the week, in a little hut on the beach. “I was, as always, wary of taking on the role,” Day-Lewis recalled. “This was a man whose soul was torn, and once you’ve adopted that kind of internal conflict, it’s difficult to quiet.”
We finished our tea and headed out into the large garden outside the hotel. In some ways, like many of Day-Lewis’s films, “The Ballad of Jack and Rose” was another film about the attraction of the West. Jack Slavin, Day-Lewis’s character, is a Scotsman who left his country in the ’60s to forge a new identity in the possibly utopian wilds of America. “The West has always been the epicenter of possibility,” Day-Lewis said as he strolled through the garden pointing out its virtues. “One of the ways we forge against mortality is to head west. It’s to do with catching the sun before it slips behind the horizon.” He gestured toward the sky. It was 5 p.m., and the day was darkening. “We all keep moving toward the sun, wishing to get the last ray of hope before it sets.” I asked him if he looked for that quality in the characters he plays. Day-Lewis smiled enigmatically. “Life comes first,” he said finally. “What I see in the characters, I first try to see in life.”
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here are the relevant chunks about CMBB:
In his latest film, “There Will Be Blood,” which opens next month and was written and directed by Paul Thomas Anderson, Day-Lewis portrays a man who is searching for his fortune in oil in turn-of-the-century California. The character is loosely based on Edward Doheny, who started out as an itinerant prospector looking for gold and silver and became the millionaire who headed the Pan American Petroleum and Transport Company. “There Will Be Blood” is about the lure of the West, the intoxicating sense of freedom and opportunity that can be found in new lands and the costs of huge and sudden success. There are shades of current politics in the film — the oil and the greed still resonate — but it is, mostly, a “Citizen Kane”-esque character study about the corrupting desire for power and riches. The tale it tells is, in many ways, a story about what is right, and wrong, with America.
“I was deeply unsettled by the script,” Day-Lewis said. “For me, that is a sure sign. If you remain unsettled by a piece of writing, it means you are not watching the story from the outside; you’ve already taken a step toward it. When I’m drawn to something, I take a resolute step backward, and I ask myself if I can really serve this story as well as it needs to be served. If I don’t think I can do that, no matter how appealing, I will decline. What finally takes over, what took over with this movie, is an illusion of inevitability.” Day-Lewis smiled. “I think: Can this really be true? Is this happening to me again? Is there no way to avoid this?”
WHEN DANIEL DAY-LEWIS agreed to star in “There Will Be Blood,” the writer-director Paul Thomas Anderson suggested he watch a number of films, including “The Treasure of the Sierra Madre,” which is a kind of existential western. The 1948 film, which stars Humphrey Bogart, follows three Americans as they hunt for gold and find wealth in Mexico. Like many westerns, the movie is moralistic at heart: the character of the men is tested by their sudden good fortune and, to quote from the film’s director John Huston, they “stew in their own juice.”
“It’s my favorite movie,” Anderson told me one afternoon in early October. The writer-director of “Boogie Nights” and “Punch Drunk Love,” among other films, Anderson has always seemed interested in how fate intersects with character, especially in the openness of California. “All of life’s questions and answers are in ‘The Treasure of Sierra Madre,’ ” he said. “It’s about greed and ambition and paranoia and looking at the worst parts of yourself. When I was writing ‘There Will Be Blood,’ I would put ‘The Treasure of the Sierra Madre’ on before I went to bed at night, just to fall asleep to it.”
Anderson began writing the script when he came across the muckraking novel “Oil!” by Upton Sinclair, in a bookstore in London. “I was homesick,” he recalled, “and the book had a painting of California on the cover.” He ended up adapting only the first 150 pages of “Oil!” whose main character was a composite of many men, among them Edward Doheny. “After a few trips to Bakersfield, where they have museums devoted to the early oilmen, I started to get a sense of the film. The museums are largely trailers with a lot of oil equipment lying around the yard. Back in the day, enough people had cameras, and they took a lot of pictures. Oil fields were an interesting thing to photograph, and that research made it easy to put the pieces of their times together.”
The movie concentrates on the financial ascent and spiritual decline of a Doheny-like figure. “Doheny set out from the East Coast at the tail end of the wild, wild West,” Anderson continued. “Men from all over the country were coming out to the New Mexico territory to make their fortune. And they started looking for oil using many of the same techniques that they had used to look for silver.” Day-Lewis was struck by their zeal. “I read a lot of correspondence dating from that period,” he told me in his apartment. “Decent middle-class lives with wives and children were abandoned to pursue this elusive possibility. They were bank clerks and shipping agents and teachers. They all fled West for a sniff of cheap money. And they made it up as they went along. No one knew how to drill for oil. Initially, they scooped it out of the ground in saucepans. It was man at his most animalistic, sifting through filth to find bright, sparkly things.”
“There Will be Blood” presents a quintessentially American story of manifest destiny twinned with the lessons of a parable. “Back then,” Day-Lewis said, “men would get the fever. They would keep digging, always with the idea that next time they’ll throw the dice and the money will fall out of the sky. It killed a lot of men, it broke others, still more were reduced to despair and poverty, but they still believed in the promise of the West.” In the movie work he chooses to accept, Day-Lewis is often drawn to the push-pull of ambitious dreams and their consequences, as reflected in a kind of frontiersman. Daniel Plainview, in “There Will Be Blood,” is in certain ways a curdled version of the man playing him: the fever can grip an actor too.
It was difficult to raise the money for “There Will Be Blood,” which gave Day-Lewis almost two years to prepare for the role. He spent nearly all that time in Ireland, where he and his family live for much of the year in a home in the countryside outside Dublin. “I like to learn about things,” Day-Lewis said. “It was just a great time trying to conceive of the impossibility of that thing. I didn’t know anything about mining at the turn of the century in America. My boarding school in Kent didn’t exactly teach that.”
When filming started in June 2006 on a ranch in Marfa, Tex., Day-Lewis arrived in the character of Daniel Plainview. Anderson tried to shoot the script in sequence and most of the sets (with the notable exception of the real Doheny mansion, which has an in-house bowling alley and which is located in Beverly Hills) were within the confines of the vast ranch. “The ranch,” Day-Lewis recalled, “allowed you to have the illusion of an adventure that’s shared to the exclusion of all other things and people. We were drilling for oil, and that was that.”
Halfway through the 60-day shoot, Anderson realized that the second lead actor, who plays Plainview’s nemesis, was not strong enough. He was replaced by the versatile young actor Paul Dano, but three weeks of scenes with Day-Lewis needed to be reshot. During “Gangs of New York,” Day-Lewis would stay in character and deliberately glare at his co-star, Leonardo DiCaprio, mirroring the contentious dynamic that these men had in the film. While DiCaprio withstood the pressure (and Dano thrived on it) there are reports that the first actor suffered from intimidation. “It just wasn’t the right fit,” Anderson explained diplomatically.
“In the beginning on ‘There Will Be Blood,’ ” Day-Lewis recalled, “we were struggling.” He looked almost gleeful. “It’s always what doesn’t work that is most useful.” Of course, this sounds more like a Brit than an American. There’s a subtlety in Day-Lewis’s performance in this movie that may stem from his outsiderness. He grew up on Shakespeare, not westerns, and as a result, he is not steeped in clichés about oil barons, prospectors and their ilk. Unlike an American actor who might have approached the project with big archetypes in mind, Day-Lewis invented the character. Which is more or less what the West has always allowed.
and here's a great bit about scorsese:
And yet, there were those he yearned to work with. Day-Lewis met Martin Scorsese when the director was planning to direct “Schindler’s List.” “I thought that would be something very interesting to do,” Day-Lewis said, as he poured a cup of tea for me. “But then the project went to Spielberg. When I met Martin at the Beverly Wilshire Hotel, I wanted to pick him up and cuddle him. He is a mighty man, and when he asks you to do something, you want to do it. I was struggling to escape from English drawing rooms, but because of Martin, I accepted the role in ‘The Age of Innocence.’
of course, you'll get a lot of brilliant little anecdotes and insights if you read the whole thing, but that's ok. mac's job is to post articles and mine is to read them. that's the system.
well anyway, HERE is a bit we should talk about, from the CMBB chunk:
Halfway through the 60-day shoot, Anderson realized that the second lead actor, who plays Plainview’s nemesis, was not strong enough. He was replaced by the versatile young actor Paul Dano, but three weeks of scenes with Day-Lewis needed to be reshot. During “Gangs of New York,” Day-Lewis would stay in character and deliberately glare at his co-star, Leonardo DiCaprio, mirroring the contentious dynamic that these men had in the film. While DiCaprio withstood the pressure (and Dano thrived on it) there are reports that the first actor suffered from intimidation. “It just wasn’t the right fit,” Anderson explained diplomatically.
poor dumb kid. whoever it was just missed the opportunity of a lifetime.. like beatty in boogie, c scott in maggie, and penn in peedy.
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hmmmm, thanks for reading so i didn't have to. i'm also curious as to who it was.
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don't remember if this has been discussed or how reputable the source is (imdb boards) but it would've been news 6 months ago. apparently Paul Dano was hired to play Eli after another actor...
The original Eli actor was Kel O'Neill (XX/XY). Scuttlebutt on the set this week was that he demanded higher pay and got canned in the ensuing battle of wills.
http://imdb.com/title/tt0469494/board/nest/48204784
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Let's see if we can get this thread to 100 pages...just I would like to see if we can do it...I believe we can.
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Let's see if we can get this thread to 100 pages...just I would like to see if we can do it...I believe we can.
JG said the same thing 2 months ago. that was 20 pages ago (http://xixax.com/index.php?topic=7428.msg249834#msg249834).
in two months the film will be out even in australia so i don't think we will need to continue posting in this thread just for a big number. assume that we can do it, as we've done it 3 times before.
and thanks mac, i musta missed that as a dumb rumour posted on the imdb boards.
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Would anyone be so kind as to send me the script. It seems to have been taken down.
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Jeffery Wells from Hollywood Elsewhere interviews PTA (about 25 minutes):
**Minor Spoilers**
http://www.hollywood-elsewhere.com/images/column/111507/anderson.mp3
Blogger review:
http://mattzollerseitz.blogspot.com/2007/11/yes-its-true-there-will-be-blood.html
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Fuck. I'm depressd. Pissed. Rang to RSVP when I got the number first and the voicemail inbox was full. Called back again and was told by a recorded message that it's booked out but all people that RSVP'd can be guaranteed a seat. Fuck! Anyone who RSVP'd for them and a guest and got nobody to bring, please PM me! :yabbse-grin: I'll buy you dinner, hah. Seriously. :yabbse-smiley:
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Fuck. I'm depressd. Pissed. Rang to RSVP when I got the number first and the voicemail inbox was full. Called back again and was told by a recorded message that it's booked out but all people that RSVP'd can be guaranteed a seat. Fuck! Anyone who RSVP'd for them and a guest and got nobody to bring, please PM me! :yabbse-grin: I'll buy you dinner, hah. Seriously. :yabbse-smiley:
Today's your lucky day. You've just become my date. I added a guest just in case a reason like this came up. You're taking me to Spago's.
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Omero's a good fellow, take care of him Mac.
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Don't get fresh with him, have him back by 11:00 pm, or so help me....
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So, I have been avoiding a lot of the articles and stuff about this movie, but I was reading the description for the Alamo Drafthouse (the theater that showed the first screening of Cheremillbee) showing of No Country and found this:
"We'll also be the only theater in the country featuring a new 35mm trailer for Paul Thomas Anderson's THERE WILL BE BLOOD. Unlike the other trailer, this one was cut by the director himself and is only available at Alamo Drafthouse at the Ritz. "
Old Men with a little taste of blood... I will be there
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From the Writers Guild screening; with David Ansen of Newsweek:
(http://hollywood-elsewhere.com/images/column/111507/danielpauldavid.jpg)
(http://hollywood-elsewhere.com/images/column/111507/danieldavid.jpg)
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Radiohead's Greenwood goes sinister for 'There Will Be Blood'
Source: Los Angeles Times
After a screening of "There Will Be Blood" last night at Writer's Guild theater in Beverly Hills, director Paul Thomas Anderson said he "had to learn how to be simple" to make film. The movie tracks the life of an oil magnate played by Daniel Day-Lewis, and takes its inspiration from Upton Sinclair's 1927 novel "Oil!."
Much of the post-film discussion focused on the way Day-Lewis approached the role of an arrogantly scheming and oft-paranoid oil man. And if there's anything simple about the film, it's in Anderson's focus on this one man, as the film has an underlying -- almost horror-like tension -- to it.
That foreboding sense of dread, though, comes in large part from the score by Radiohead guitarist Jonny Greenwood. The soundtrack won't be released until Dec. 18 via the Warner Bros. imprint Nonesuch, preceding the Dec. 26 opening of the film. It should be a fascinating, if difficult, listen, judging by the moments of the music in the movie.
It'll be curious to see if it stands as a singular piece, or if Academy voters find it too experimental, too hauntingly sparse, for the original score nomination it deserves.
Like Anderson's film, Greenwood's music often feels deceptively simple, playing out like a twisted, mutated take on orchestral music of the turn of the century.
At times, strings are manipulated into something that sounds like an air-raid siren, and in the few moments there's percussion, it's startling. The rhythms resemble the clangs of the oil machinery in the film, a carefully orchestrated but scattered-sounding noise -- the sound of a mind going mad, perhaps.
Greenwood and Anderson earlier discussed the music and how it relates to certain scenes of the film with Entertainment Weekly, where Greenwood said "The Shining" was a conversation point between the two. Indeed, the opening scenes of "There Will Be Blood," with its wide-open shots of Texas land and guttural orchestra sounds, certainly recall the 1980 Stanley Kubrick thriller.
Greenwood told EW:
I think it was about not necessarily just making period music, which very traditionally you would do. But because they were traditional orchestral sounds, I suppose that's what we hoped was a little unsettling, even though you know all the sounds you're hearing are coming from very old technology. You can just do things with the classical orchestra that do unsettle you, that are sort of slightly wrong, that have some kind of undercurrent that's slightly sinister.
Greenwood's words above best describe the music.
Last night, Anderson also cited John Huston's 1948 film "The Treasure of Sierra Madre" as inspiration, and said he sent pieces of Max Steiner's score to Greenwood. While the music of the latter took a more majestic approach, Greenwood is able to grace "There Will Be Blood" with a similarly epic sonic scope.
"I knew our score would sound nothing like that," Anderson said, "but this is what I was trying to get into the mix."
More on the film, and the soundtrack, as their respective release dates approach.
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Fuck. I'm depressd. Pissed. Rang to RSVP when I got the number first and the voicemail inbox was full. Called back again and was told by a recorded message that it's booked out but all people that RSVP'd can be guaranteed a seat. Fuck! Anyone who RSVP'd for them and a guest and got nobody to bring, please PM me! :yabbse-grin: I'll buy you dinner, hah. Seriously. :yabbse-smiley:
Today's your lucky day. You've just become my date. I added a guest just in case a reason like this came up. You're taking me to Spago's.
THANK YOU! So much. You're a hero. Spago's it is! Check you PM. ;)
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"We'll also be the only theater in the country featuring a new 35mm trailer for Paul Thomas Anderson's THERE WILL BE BLOOD. Unlike the other trailer, this one was cut by the director himself and is only available at Alamo Drafthouse at the Ritz. "
Old Men with a little taste of blood... I will be there
I guessing the "other trailer" they are referring to is the one that was shown before "3:10 to Yuma" and "Brave One", should we really believe that pta didn't create that one? I mean is it normal for people other than the director to make the trailers?
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I mean is it normal for people other than the director to make the trailers?
i would say so. it's the job of the marketing department. that's why all indie films look the same, and why all movies are misrepresented in their trailer. it's a rare exception that a director would cut their own promo. i havn't done an in-depth study, but i would imagine the difference is similar to that between a teaser and a full length trailer. one gives you a sense of what the movie is about, and the other tells you everything that happens.
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I mean is it normal for people other than the director to make the trailers?
i would say so. it's the job of the marketing department. that's why all indie films look the same, and why all movies are misrepresented in their trailer. it's a rare exception that a director would cut their own promo. i havn't done an in-depth study, but i would imagine the difference is similar to that between a teaser and a full length trailer. one gives you a sense of what the movie is about, and the other tells you everything that happens.
i was having a discussion about this - once i see a joke in a trailer i can never laugh at it within the actual movie.
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(http://hollywood-elsewhere.com/images/column/111507/danielpaul2.jpg)
(http://hollywood-elsewhere.com/images/column/111507/danielalone460.jpg)
Source: Jeffery Wells; Hollywood-Elsewhere
**SPOILER ALERT**
Here are three Daniel Day Lewis clips from last night's WGA discussion following a screening of There Will Be Blood. Newsweek's David Ansen moderated; costar Paul Dano and director-writer Paul Thomas Anderson also participated.
I love the gentle British inflections in Lewis's natural speaking voice. When was the last time he used them in a film? Not recently. And not The Age of Innocence, not The Crucible, not In The Name of the Father. Was it A Room With a View? The Boxer?
I was struck by how tall and gangly Lewis is when he first walked into the WGA theatre lobby while the film was still running. I've never sensed his being this Abraham Lincoln-ish -- rain-thin and about 6' 3" -- from his appearances on film. There's also the matter of his big head. Almost all big stars have them. I thought of this as Lewis sat next to Ansen during the q & a. Lewis's face is a good 35% to 40% larger than Ansen's, and that's a conservative estimate.
In clip #1, Lewis explains the attitude of his Blood character, Daniel Plainview, toward Paul Dano's Eli, an evangelical huckster, to a woman in the audience.
In clip #2, he's explaining to another female questioner how Plainview comes to suspect that Kevin J. O'Connor's Henry character may not be his actual brother, as has been claimed. It's not a very smart question, but Lewis has fun with her and shows good humor. (At one point he says, "I'm so confused!") As I said to Ansen later, sometimes the dumber questions get the better answers.
And in clip #3 -- the best -- Lewis responds to one of the question that young actors refuse to stop asking in situations like this, which is "what advice would you have for an actor just starting out today?" And yet Lewis's response, which doesn't offer advice, is quite good. Gets a round of applause.
http://www.hollywood-elsewhere.com/images/column/111507/lewisonplainview.mp3
http://www.hollywood-elsewhere.com/images/column/111507/lewisonbrother.mp3
http://www.hollywood-elsewhere.com/images/column/111507/lewisonadvice.mp3
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(http://hollywood-elsewhere.com/images/column/111507/pauldano.jpg)
Source: Jeffery Wells; Hollywood-Elsewhere
**SPOILER ALERT**
I sat down earlier this evening with There Will be Blood costar Paul Dano. We know the same people and have talked at a couple of parties, but this was the first interview. Dano plays a dual role -- twins, actually -- in There Will Be Blood. "Paul" is a bright, mature, realistic fellow; "Eli" is an opportunistic evangelical creep. Dano delivers on the intensity and then some. He and Daniel Day Lewis have a helluva final scene together.
Here are two mp3 files of our talk. The first is longer than the second.
For my money Dano had a slyer, deeper, more interesting thing going on in Little Miss Sunshine than did his Oscar-winning costar Alan Arkin. Dano and Steve Carell obviously share the film's richest and most intimate scene.
Our common denominator is having both lived in Wilton, Connecticut, for a few years. Dano, 23, graduated from Wilton High School in '02. He's currently living in Manhattan's East Village and starring onstage in Jonathan Marc Sherman's Things We Want, directed by Ethan Hawke and costarring Peter Dinklage, Josh Hamilton and Zoe Kazan.
http://hollywood-elsewhere.com/images/column/111507/dano.mp3
http://hollywood-elsewhere.com/images/column/111507/dano2.mp3
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i'm pretty sure by swiping a bit of that white i just read the biggest spoiler of all time. why did i do that?
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i'm pretty sure by swiping a bit of that white i just read the biggest spoiler of all time. why did i do that?
How do you think I felt when I read it without knowing? I didn't even have the option to swipe or not.
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Jeffrey Wells is a dick. all be warned.
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paul dano seems like a cool dude.
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i'm pretty sure by swiping a bit of that white i just read the biggest spoiler of all time. why did i do that?
How do you think I felt when I read it without knowing? I didn't even have the option to swipe or not.
Oh man, why do both of you keep reading this things? Specially you Mac, you're one day away from seeing it, nobody will think less of you if you don't post articles for a couple of days, besides, P reads everything and keeps taking one for the team.
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Specially you Mac, you're one day away from seeing it, nobody will think less of you if you don't post articles for a couple of days
speak for yourself. :elitist:
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that was a big spoiler for The Prestige, but for this film, it doesn't really matter.
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yesterday i saw (or thought i saw) that sal posted a review in this thread. soi read it, only to realize that i was in the wrong thread. i don't know if what i read is a total spoiler or not, but its definitely not something i had been reading in these spoiler-ful articles. anybody who has already seen it wanna help me out?
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youre all good.
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pozer, Omero, Silias and I are gonna try to do a xixax meeting. Who else is going tomorrow? PM me if you wanna get in on it and pass the jenkem balloon around.
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a bit of a Hail Mary, but does anybody else that is going tomorrow have a +1 they are not using? PLEASE??
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this is neat (http://cgi.ebay.com/THERE-WILL-BE-BLOOD-OscarAd-DANIEL-DAY-LEWIS-ANDERSON_W0QQitemZ170168529054QQihZ007QQcategoryZ18820QQssPageNameZWDVWQQrdZ1QQcmdZViewItem#ebayphotohosting), the guy calls it an "Oscar ad" although I'm not quite sure what that is.
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How early are people going tomorrow? I'm debating how early would be too early...
CMBB eve!
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I'll be there tomorrow. Probably too early.
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I'm gonna head down there 'round 4?
I'm probably going to sound stupid, but what is CMBB? Something, something, "...be blood," I'm guessing?
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I'll probably be there around 1'ish. I'll be the film geek toting a poster tube hoping to get my Boogie and Magnolia posters signed.
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:shock: just caught a LONG NEW amazing trailer on television. it was during the eye witness news. best part is, my pals who are not into such a thing as much as i am, all thought it looked really good.
i am now trying to convince the jobless one to go and hold me a spot in line tomorrow, as i will not be able to get there early enough for my liking.
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:shock: just caught a LONG NEW amazing trailer on television.
http://www.iklipz.com/MovieDetail.aspx?MovieID=f3483c20-70c3-489a-ab84-0e80d45cc0d4
holy shit. that's what i thought domestic meant. loving the score.
tv spot spoils
plainview swims just like pta.
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I'm probably going to sound stupid, but what is CMBB? Something, something, "...be blood," I'm guessing?
well you're just gonna have to read the whole thread to find out won't you? :yabbse-thumbup:
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do it and you might be rookie of the year.
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Fuck it, I'll do it.
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godspeed you, little dude. :salute:
watch out for vince froio, the kitlers, and so much more!
goddamn this thread is a classic.
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Chere Mill Be Blood.
That was a helluva read, kitlers and all.
I feel like part of the Xixax clan now. :yabbse-grin:
No? Still a rookie? Oh, well.
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you did good.
(http://i5.photobucket.com/albums/y154/pubrick/simps/bigday1.jpg)
Now go to sleep, we have a big day ahead of us tomorrow.
A big, long.. day.
(http://i5.photobucket.com/albums/y154/pubrick/simps/bigday2.jpg)
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Anyone want a specific question asked of PTA at the Q&A?
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:ponder: just don't ask anything related of how parenthood has changed him as an artist/person, what changes you when having kids is your lifestyle if you're an ok parent, so that is altered forever regardless of what you are in life (artist, CEO, janitor). Instead, ask him to say chere mill be blood and tape it for our own pleasure.
Or ask the usual about his next project, he said some time ago he was writing something.
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This isn't necessarily a great question, but I often wonder if he still feels the same way about Magnolia: that "for better or worse, it's the best film I'll ever make". He'd probably just give an "I love all my kids the same" answer though.
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tv spot spoils
plainview swims just like pta.
Ha - my thoughts exactly when I first saw the movie!
me three! that's so funny. wonder if he used that pic from cannes as a ref. on the set.
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ask him when he's bringing Blood to New York.
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This isn't necessarily a great question, but I often wonder if he still feels the same way about Magnolia: that "for better or worse, it's the best film I'll ever make". He'd probably just give an "I love all my kids the same" answer though.
he was asked this question in the MEAN MAGAZINE interview - Paul answer was, '(long pause) no comment.'
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can you scan in the interview pleeeeease cowboykurtis?
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can you scan in the interview pleeeeease cowboykurtis?
That would be sawiiiiiit!
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One of the directions from my place to the theatre:
6: Turn RIGHT onto MAGNOLIA BLVD.
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I'm leaving my los feliz/griifith park apartment now. I'll be the one who's pretty scrawny and geeky....not that that narrows it down much...ok...here we go I'll be in a beowulf baseball hat, kacki pants and black team physical therapy T-shirt. Look for me peeps and all that jazz.
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Look forward to seeing some of you in the HW thread :yabbse-grin:
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Mac, i'd love to know if the music in the theatrical trailer (aside from convergence) is original score or not. you'll know by the time the q & a starts... if it's from something else (the beginning bits and the post oil! bits) i'd like to know what it is. but only ask him if you have a few free questions.
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This isn't necessarily a great question, but I often wonder if he still feels the same way about Magnolia: that "for better or worse, it's the best film I'll ever make". He'd probably just give an "I love all my kids the same" answer though.
I remember he was asked this at the Berkeley Q&A, and I think at first he said, "I said that?" then later, "It was probably just a bit of showmanship on my part."
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can you scan in the interview pleeeeease cowboykurtis?
read it at a news stand
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Anyone want a specific question asked of PTA at the Q&A?
ask him when he's bringing Blood to New York.
ask if it's cos of the bedbugs (that NY is getting snubbed).
if i was drunk or hepped up on goofballs i would ask if his daughter's name is a reference to Night of the Hunter. and then i'd go "THAT MOVIE RULES!" as i'm escorted out. he should at least laugh, if he knows what's good for him. pozer can you ask him that?
if not, that's ok, i'll just ask at cowboykurtis' news stand..
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i was at the WGA screening for diving bell and the butterfly and harwood was talking about the WGA and SAG screenings he attended in LA a couple weeks prior. soooo... maybe thats just how they do things when they're trying to publicize these end of the year movies, west coast first, then east coast.. so if they already had the WGA west coast screening of blood, thennnnnn right after thanksgiving pta will come to new york city and we can sneak into those screenings or maybe he'll have public screenings and the east coasters can finally see this movie.
i've had dreams about this movie, all i do is think about this movie and talk about this movie. i listened to the boogie nights commentary last nite.. why? I DON'T KNOW I JUST WANT TO SEE THIS MOVIE.
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This isn't necessarily a great question, but I often wonder if he still feels the same way about Magnolia: that "for better or worse, it's the best film I'll ever make". He'd probably just give an "I love all my kids the same" answer though.
I remember he was asked this at the Berkeley Q&A, and I think at first he said, "I said that?" then later, "It was probably just a bit of showmanship on my part."
That's good. It would be dissapointing if he thought Magnolia was the best he'll ever do. I know people here take him at his word and show it by nominating Magnolia to a ridiculous status, but it's by no means his best film, not even close.
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That's good. It would be dissapointing if he thought Magnolia was the best he'll ever do. I know people here take him at his word and show it by nominating Magnolia to a ridiculous status, but it's by no means his best film, not even close.
i don't think that's why ppl love magnolia. his statement was an emotional one at the time. what he probably meant to say was most personal, uncompromising, and indulgent. "for better or worse", for the person who he was at the time, that was the best movie he could imagine ever making -- a grand statement, no doubt, like the movie itself. likewise, i love the film unconditionally for the purpose it served me. it was indispensible, unlike any other movie had been.
that makes me think how could a 16 year old be on the same "level" as a 30yr old genius? was the movie that immature? the difference is in ability. i was thinking it and he was making it happen. he showed me that what was driving me crazy, these inexpressible ideas, could actually happen. and did.
maybe you never thought much of the movie to begin with. granted, it had little if anything to do with kevin costner. i still think it's absolutely amazing. and NOT in the meaningless "duhhhh the music and the direction was good" whatever the fuck that means kind of way. i mean the IDEAS, man. those ideas that i still can't bring myself to verbalize. the movie itself is the statement. i still quote Jim Kurring's final (audible) monologue about forgiveness. that was the real last word, HIS last word, along with the good news he went on to deliver, it was his live commentary right there on the screen.
so it doesn't surprise me that he doesn't do commentaries anymore, and wants to make a movie without dialogue. it makes perfect sense that CMBB would start in a long silence. with PDL he attempted the first portrait of what i imagine will be many Great Men of Few Words. Barry Egan's strong point was not his eloquence. DDL said in the NYT article that no one read, that he is fascinated by the great men of america who say but few words.. he contrasts it against british verbosity. that was a very revealing comment he made about the nature of his character and of the film. ultimately the function of dialogue is to release energy rather than build or contain it.
for better or worse, this is the best post i'll ever write.
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Anyone want a specific question asked of PTA at the Q&A?
I still say ask about some video/short/WSYB compilation. He's talked recently about this Elliott Smith short, so maybe the idea is already on his mind.
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That's good. It would be disappointing if he thought Magnolia was the best he'll ever do. I know people here take him at his word and show it by nominating Magnolia to a ridiculous status, but it's by no means his best film, not even close.
i don't think that's why ppl love magnolia. his statement was an emotional one at the time. what he probably meant to say was most personal, uncompromising, and indulgent. "for better or worse", for the person who he was at the time, that was the best movie he could imagine ever making in his life -- a grand statement, no doubt, like the movie itself. likewise, i love the film unconditionally for the purpose it served me. it was indispensible, unlike any other movie had been.
that makes me think how could a 16 year old be on the same "level" as a 30yr old genius? was the movie that immature? the difference is in ability. i was thinking it and he was making it happen. he showed me that what was driving me crazy, these inexpressible ideas, could actually happen. and did.
maybe you never thought much of the movie to begin with. granted, it had little if anything to do with kevin costner. i still think it's absolutely amazing. and NOT in the meaningless "duhhhh the music and the direction was good" whatever the fuck that means kind of way. i mean the IDEAS, man. those ideas that i still can't bring myself to verbalize. the movie itself is the statement. i still quote Jim Kurring's final (audible) monologue about forgiveness. that was the real last word, HIS last word, along with the good news he went on to deliver, that was his live commentary right there on the screen.
so it doesn't surprise me that he doesn't do commentaries anymore, and wants to make a movie without dialogue. it makes perfect sense that CMBB would start in a long silence. with PDL he attempted the first of what i imagine many Great Men of Few Words. Barry Egan's strong point was not his eloquence. DDL said in the NYT article that no one read, that he is fascinated by the great men of america who say but few words.. he contrasts it against british verbosity. that was a very revealing comment he made about the nature of his character and of the film. ultimately the function of dialogue is to release energy rather than build or contain it.
for better or worse, this is the best post i'll ever write.
You're right. Paul Thomas Anderson saying Magnolia was his best work didn't make everyone fall in line to just agree, but I think the elements that came together to get most of the original board to like it since it was the first major film we all talked about and everyone seemed to discover film as a whole through it. I think the fact PTA was so passionate about it at the time certainly helped since our appetite for him and the film was limitless.
Looking back, my post was insensitive. I bottled up angst against the hype of Magnolia and let it spill over in a barely explained comment and slam. Our feelings about Magnolia are different and while I might assume others like the film for the most general reasons, I definitely don't think you do. A few members can tell me something and I'll believe them. Coincidentally, Magnolia is the subject of my next essay. It'll debut on Green Screen in the next week. No worries, I went out of my way to give it a fair shake.
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That's good. It would be disappointing if he thought Magnolia was the best he'll ever do. I know people here take him at his word and show it by nominating Magnolia to a ridiculous status, but it's by no means his best film, not even close.
i don't think that's why ppl love magnolia. his statement was an emotional one at the time. what he probably meant to say was most personal, uncompromising, and indulgent. "for better or worse", for the person who he was at the time, that was the best movie he could imagine ever making in his life -- a grand statement, no doubt, like the movie itself. likewise, i love the film unconditionally for the purpose it served me. it was indispensible, unlike any other movie had been.
that makes me think how could a 16 year old be on the same "level" as a 30yr old genius? was the movie that immature? the difference is in ability. i was thinking it and he was making it happen. he showed me that what was driving me crazy, these inexpressible ideas, could actually happen. and did.
maybe you never thought much of the movie to begin with. granted, it had little if anything to do with kevin costner. i still think it's absolutely amazing. and NOT in the meaningless "duhhhh the music and the direction was good" whatever the fuck that means kind of way. i mean the IDEAS, man. those ideas that i still can't bring myself to verbalize. the movie itself is the statement. i still quote Jim Kurring's final (audible) monologue about forgiveness. that was the real last word, HIS last word, along with the good news he went on to deliver, that was his live commentary right there on the screen.
so it doesn't surprise me that he doesn't do commentaries anymore, and wants to make a movie without dialogue. it makes perfect sense that CMBB would start in a long silence. with PDL he attempted the first of what i imagine many Great Men of Few Words. Barry Egan's strong point was not his eloquence. DDL said in the NYT article that no one read, that he is fascinated by the great men of america who say but few words.. he contrasts it against british verbosity. that was a very revealing comment he made about the nature of his character and of the film. ultimately the function of dialogue is to release energy rather than build or contain it.
for better or worse, this is the best post i'll ever write.
You're right.
Looking back, my post was insensitive.
what can we forgive?
btw...The screening tonight was sorta mediocre. I know, I'll get slammed for this but I left half way through to meet a friend for Jack in the Box and a bubble bath. Just got home and had a message saying I was the luckiest bitch in the world for scoring free tix. I'm actually feeling like the tub was a better call y'all.
I'll try it out again in December I guess
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what can we forgive?
8 years later, we finally know where to draw the line..
I left half way through to meet a friend for Jack in the Box and a bubble bath.
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to
too
two
shea
shay
sheigh
i've named my new vibrator pubrick
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I'm nice to Pubrick these days. I wasn't admitting a capital crime by saying my last post was unpleasant, just being kind and considerate. You should have seen how well we use to get along.
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Just Got back from the LA screening... DDL did not seem to be amused by Judd Apatow.
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DDL did not seem to be amused by Judd Apatow.
I concur. How fucking amazing was it tonight? I'm blown away.
Had such a great time hanging out with Mac and Silias.
This necessitates further explanation.
Apatow to DDL: Which did you prefer: "Knocked Up" or "Superbad"?
DDL's reply: silence.
I believe that was his first question.
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yeah.. so far, SF crowd > LA crowd.
mac will be your only saving grace.
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That was one Goddamn, Helluva show.
(http://i116.photobucket.com/albums/o15/Mac_Guffin/100_0415.jpg)
Silias, Omero and I seriously considered stealing the film and cutting it up into strips and mailing you all portions like The Kubrick Archives, but we realized that we wouldn't get to see the film then.
(http://i116.photobucket.com/albums/o15/Mac_Guffin/100_0417.jpg)
Sorry for the blur. Had to sneak the photo since they said no photos and had personnel around.
Philip Baker Hall and Maya were in the audience, along with the dude who was replaced by Paul Dano. He was sitting in front of me and pointed to himself amongst his friends when PTA mentioned the recasting in the Q&A.
Sorry, mod, didn't get a chance to ask about the East Coast, or what his next project might be.
Ladies and Gentlemen, I have met GOD and shook his hand (DDL's John Hancock is on top):
(http://i116.photobucket.com/albums/o15/Mac_Guffin/twbbtic.jpg)
PTA was trying to get to his mom and sister, so pulling out my posters wouldn't have been feasible. This ticket was the next best thing.
It was the perfect setting to see the film. The entire audience was completely respectful. No cell phones went off, no one checked their cells and cast a flashlight effect; no talking. Everyone was in awe.
The film was worth the years of waiting to see PTA doing everything he does best, and nothing he has done before.
Right from the opening frames, the film sucks you in and commands you. I honestly got goosebumps; and not just once. Then there was the score. My God, the score was its own entity. It seems so out of place, yet so just and perfect. The silence in the opening that is talked about so much lives up to the hype. It was a brilliant progression of storytelling done with images that truly shows PTA's presence as a filmmaker. He must, at the very least, get a Best Director Oscar nod. The scene that follows with Daniel and son on a train with voiceover playing is just one of many images that are just mezmerizing. Then you hear Plainview's voice. And his character becomes fully rounded because that voice, not just in tone, is a large part of why this man is so wretched, yet increasingly fascinating. Day-Lewis deserves every accolade that comes his way. There will be no other performance topped by this one this year or even in years to come. Dano also deserves some mention in his going toe-to-toe with DDL. The trailers are nothing compared to the epic scope the film will give you, not just in terms of the cinematography, but also in the story. It becomes a incredibly intense character study. Moments of jaw-dropping brillance, that I really don't want to mention to you here because I will not do justice and you have to experience for yourself, are spread throughout. It all adds up to a film so beautiful with every aspect firing on all cylinders.
The memories of meeting PTA and DDL preceeded by a wonderful screening of a gorgeous film. It was a night I won't soon, if ever, forget.
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DDL did not seem to be amused by Judd Apatow.
I concur. How fucking amazing was it tonight? I'm blown away.
Had such a great time hanging out with Mac and Silias.
This necessitates further explanation.
Apatow to DDL: Which did you prefer: "Knocked Up" or "Superbad"?
DDL's reply: silence.
I believe that was his first question.
First: Is this true? If so, that's fucking hilarious. I'm here trying to imagine Lewis's reaction to the question (like, "what the fuck is he talking about? Who is this guy? WHO IS THIS GUY??? Ladies and gentlemen, if I say he's an asshole, you'll agree").
Then: Mac's post gave ME the goosebumps. I want CMBB right fucking now.
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wait can one of you explain play-by-play the judd apatow thing? why would he ever ask anyone, let alone daniel day freakin lewis, which of his two movies he liked better? please tell me there's something we're missing here and he's not that much of a douche.
Then: Mac's post gave ME the goosebumps. I want CMBB right fucking now.
me too. nice job buddy. although i have to say I predict the new york screening will blow la and sf out of the water. that is, if the movie ever comes here…
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The "Knocked Up or Superbad" question came first as a sort of ice breaker. Then Apatow led the questioning for quite a while, asking the standard stuff about "his process" that we have all heard before...but peppering jokes in here and there that was met with silence from DDL and pity laughs from PTA.
At one point, I don't recall the question, but Apatow posed a question to DDL who then chose to just sit and stare into the audience. PTA just looked at Apatow and shook his head as to say "drop it".
I thought it was a good line by Apatow when someone asked about how Paul Dano was a replacement for so and so...PTA was gracious, but it was an awkward subject to broach...so Apatow cuts in with the Back to the Future reference..."Hey, they did it on Back to the Future...Eric Stoltz wasn't working out so they went with Michael J. Fox....They had to do the same thing on this movie...the only bummer was they were replacing Eric Stoltz."
Another good moment, When Apatow asked PTA and DDL if he was doing better than David Ansen of Newsweek...whom he has beef with over his review of CABLE GUY for saying "..it didn't get one laugh.." saying he wanted to kick Ansen's ass.
Overall, Apatow did an okay job. Should've opened it up to Q&A sooner though.
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You forgot when Apatow asked PTA about how does a director get an actor of DDL's rank to work for him, then cracked a joke about having a script called My Left Nut.
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What was Apatow even doing there? Talk about a wrong side of the tracks meet-up. I haven't seen one that strange since Weird Al had Morrisey as his best man at his wedding. WTF?
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lol ^^^^
You forgot when Apatow asked PTA about how does a director get an actor of DDL's rank to work for him, then cracked a joke about having a script called My Left Nut.
hahaha, but really, how can you ask that? Besides everybody knows the answer of how to do that: the same way he got Cruise, the same way he got final cut on his last 4 films, the same way he got to meet Kubrick...you need to be Paul Thomas Anderson.
mac will be your only saving grace.
And he was, great post Mac :yabbse-thumbup: :yabbse-thumbup: :yabbse-thumbup:.
Is it possible CMBB will sit right next EWS? We'll see.
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firstly, to mac & friends - SO sorry i was not appart of the meet up. i was in such a rush to get there, ended up going with a group of peeps and a pair of them were LAGGING, sat through horrid traffic - it was RIDICULUOUS and i was in a HORRID mood upon arrival. we were some of the last to get in - did you notice us standing near maya WHO DIDN'T EVEN HAVE A SEAT? we had to sit away from each other - was frustrated about all this....
anywayz, enough about pozer who had a great time in the end. i thought judd was really funny and thought that was just daniel's style. he was smiling most of the time - just keeping quiet on the responses to screwball questions or remarks is his thing. full affect of the first question - “I know you don’t really do interviews or really like these things, so my first question has got to be... do you prefer Knocked Up or Superbad?” Silence from DDL (but smiling). “I’ll send ya the DVDs.” with answers, daniel & paul both seemed like they could go on an on about certain things and i would just listen and listen. what was it daniel said exactly - something like, "paul is trying to explain if i was playing the role of his girlfriend or the other around...?
great encounters: paul introducing philip baker hall to daniel, judd introducing big superbad guy to paul and me introducing myself to daniel. we all went for sushi afterwards. sans me. and prolly superbad guy.
seriously tho, daniel is genuine in person. his grin is HUGE and i didn’t want to trouble him for an autograph cuz it was enough to just meet him. and after watching him and hearing the way he transforms himself and his voice in a movie, his appearance and thick british accent just cannot be so. like when he replied with that grin, “thank you very much. Nice to see you.”
i then moved on to PTA with goose bumps from the d-man. he noticed us and came over to say hello. I told him “thanks for a great movie.” he’s a very generous guy and said “thank YOU.” so i felt like troubling him - whipped out my ticket and asked for his autograph. i had a pen i borrowed from one of my friends and he tried to sign it, but it would not work. he moved to the ground to attempt to sign and the pen would JUST NOT WORK. “oh sorry, man. The pen isn’t working.” Reaches into his pocket in attempt to find one of his own, but there wasn’t one there and IIII AM FEELING LIKE AN ASS. i go, “don’t sweat it man, it’s just cool to meet you.” You can tell that means a lot to him. some chick gave him a pen and now I have a ticket with his scribbled attempts and autograph.
overall, fantastic night, I LOVE LOVE LOVE LOVE that movie (as did the other four i was with, only one being a pta fan) and got to meet two individuals who I have much admiration for.
oh yeah, p, didnt ask about the daughter name thing but did ask this:
ask if it's cos of the bedbugs (that NY is getting snubbed).
his reply: FUCK YOU N.Y.!
my crappy pix:
(http://img521.imageshack.us/img521/3089/img0134mediumiv0.jpg)
(http://img521.imageshack.us/img521/608/img0135mediumrr6.jpg)
(http://img235.imageshack.us/img235/5553/aftermathmediummc4.jpg)
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seriously tho, daniel is genuine in person. his grin is HUGE and i didn’t want to trouble him for an autograph cuz it was enough to just meet him. and after watching him and hearing the way he transforms himself and his voice in a movie, his appearance and thick british accent just cannot be so. like when he replied with that grin, “thank you very much. Nice to see you.”
DDL looked very pleased to be asked for an autograph. When he was done signing, I held out my hand, said "Thank you," and he looked shocked, in a good way, that I was so grateful. He gave me a very strong, hearty handshake, and told me "Thank you very much" with a sort of a bow to it. 'Genuine' is the perfect word to describe him.
i then moved on to PTA with goose bumps from the d-man. he noticed us and came over to say hello. I told him “thanks for a great movie.” he’s a very generous guy and said “thank YOU.” so i felt like troubling him - whipped out my ticket and asked for his autograph. i had a pen i borrowed from one of my friends and he tried to sign it, but it would not work. he moved to the ground to attempt to sign and the pen would JUST NOT WORK. “oh sorry, man. The pen isn’t working.” Reaches into his pocket in attempt to find one of his own, but there wasn’t one there and IIII AM FEELING LIKE AN ASS. i go, “don’t sweat it man, it’s just cool to meet you.” You can tell that means a lot to him. some chick gave him a pen and now I have a ticket with his scribbled attempts and autograph.
We were right behind each other because I saw PTA struggling with that pen, and wanted to push through hand him my Sharpie so I could be next.
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haha! oh man, that sucks! you mean you were the one who approached right after i was done and said something about the movie being great as well?! thought you would be somewhere around there. i had to hurry up cuz everyone i was with was set to leave. Mac & i were right next to each other and i blew it! itd been so funny if i called you, and your phone started ringing right there.
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Some more tidbits from the Q&A:
Apatow asked why it took so long to get the project filmed, was it money? PTA answered that no one wanted to make it. Apatow told him to name names. PTA kind of hesitated, laughed then said Universal didn't want to make it. Apatow said, "Fuck 'em. Fuck Universal."
Apatow asked if DDL would be willing to wait how ever long it took, to which he said that even if the project was dropped, the whole process of discussing the character and fleshing it out with PTA was worth it.
Apatow mentioned that John C. Reilly did reseach on the porn industry before filming Boogie Nights by watching porn. Apatow then said that's something he still practices because he did the same thing for Walk Hard.
Someone asked about the score. PTA answered that it was done by Jonny Greenwood. All the Radiohead fans in the audience clapped. PTA then said something like, "There you go."
Since there were Writers Guild members there, PTA was asked about his writing process. He said that being a disciplined writer is key. That he doesn't start writing knowing where he's going to take a scene/story. He likes letting the ideas come to him. DDL added that the great thing about PTA's script is that he doesn't add those emotion descriptions. How do I know the character will be angry at that time?
Someone asked how they found the child actor who played H.W. He was a local hire from Texas, his mom is a state trooper. She had no idea who PTA or DDL were; never seeing any of their films. So she decided that she should rent a film to get a look at the man who was going to be with her son the most and play his father. She watched Gangs of New York.
DDL called him a man-child. He was so smart that when DDL explained that some of the mean acts he was gonna do weren't real. The boy gave DDL a strange look, "I know that."
PTA contrasted Texas and Calif. When the filming came to Calif, the boy has to have a teacher with him on set for labor laws, etc. But the teacher was so overbearing, always asking if he was okay, do you want a snack, do you want something to drink, and so on. The mom had enough and told the teacher, "My son's from Texas. If something is wrong, he'll let you know."
PTA talked about filming in Marfa, Texas and how since Giant was also filmed there, he thought that was a good sign and was hoping of that vibe would rub off.
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There Will be Blood: On the Screening Circuit
Source: Thompson On Hollywood
**READ AT OWN RISK**
Paramount Vantage is on the There will Be Blood promo trail, screening the pic and building support. I watched the two hour and forty minute film, happily, for the second time at the WGA screening Monday night; the crowd gave Paul Thomas Anderson and Daniel Day Lewis a standing ovation afterward.
Here's what I learned:
As far as the Oscars go--Daniel Day Lewis is a cinch for a nom. And the directors could come through for Anderson's extraordinary mise-en-scene. The writers may see some weakness in the script. The production values are stunning--production design, costumes, etc. There Will Be Blood won't play for the mainstream Academy. But it's a movie, like Citizen Kane or Greed or The Treasure of the Sierra Madre, that will endure. It has that kind of power.
Paramount Vantage should encourage folks to see this movie twice, because it really is better after it has been pre-digested. That said, gorgeous as it is, the movie is hard for people to take. It's not easy to watch. It's rough and violent and provides few good characters to hang onto. And Lewis's towering performance is more humorously operatic than I realized the first time.
Newsweek critic David Ansen, who was the only journalist on the set of the movie, moderated the Q & A and revealed that Paul Dano was originally cast as Paul Sunday, the guy who tips off Daniel Day Lewis's oilcatter to a possible oil strike in California. At the last minute, just as Dano was supposed to start filming, Anderson told him that he wanted him to play a second role, as Paul's twin brother Eli. Dano was surprised, but jumped right in. The problem is, the film is confusing. I was not sure that they were two separate people the first time. This time, I watched carefully; Anderson doesn't spell it out enough; it flies over people's heads. Several people at the screening were also confused.
Comparing the film to Upton Sinclair's novel, Ansen said, "This is original, the resemblance to the book is miniscule, based on the first 150 pages." Anderson agreed that the book was "mammoth" and thus impossible to shoot at its length. He transcribed a lot of the book, but just kept cutting and cutting. Something that was ten pages "became five, became four, became one," he said. Inspired by a plot of land on Signal Hill where oil was discovered, Sinclair "was a great journalist," said Anderson. "He wrote in amazing detail." The movie was contained in good part from being a "typical epic" by its limited scope and budget, Anderson said.
One of my favorite shots in the film, when Day Lewis on horseback rides around the outside of the Bandy house and peers in through the window, was Lewis's suggestion; Anderson just shot it. Lewis, in pork pie hat, said he did a lot of research, like digging into the ground. "It was irresistible," he said. And while he took a long time "to splash around" on finding his voice, listening to turn-of-the-century recordings, John Huston did come to mind at a certain point. Lewis sent Anderson tapes of what he was trying. "The great advantage of a period like that is noone knows, so you can do whatever you like," he said.
Anderson also watched Huston's The Treasure of the Sierra Madre repeatedly, and gave it to Lewis and composer Jonny Greenwood. "For a few nights in a row I fell asleep to it to get into the saltwater of it all," he said.
The score by Jonny Greenwood, which seems strange and intrusive the first time, grows on you the second. One big chunk of the soundtrack is Brahms.
Anderson loved working with all the non-pros around Marfa, Texas, including first-time actor Dylan Freasier, who plays his son H.W.. "He's terrific in the film," said Anderson, "and he's ten times as terrific as a young man." First, though, Freasier's state trooper mom had to give permission for him to star in the film opposite Lewis. Unfortunately, she was horrified by Gangs of New York before someone quickly sent her The Age of Innocence. Then she relented.
I was struck by the notation "a carbon neutral production" on the closing credits. This for a movie that involves a lot of gushing and dramatically burning oil. Anderson admitted afterwards that he had nothing to do with this and found it amusing, as the burning oil is real in the film and would be pretty hard to neutralize. "Did they plant a lot trees?" he asked. The ILM digital effects in the movie are mostly enhancements, along the lines of a wonderful shot of an oil lake with the sky reflecting in it. Anderson had seen a picture of a lake like that and wanted it in the film.
Ansen has a trove of info on this film. I hope he goes ahead and writes up what he knows online, even if Newsweek's print edition isn't interested.
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i was just reading through some of the facebook reviews (http://apps.facebook.com/flixster/m/770671487) for this, from people who have SEEN the film and i just wanted to share a few so that we could puke together!
4/5 Stars
"This is an amazing masterpiece. Paul Thomas Anderson is my new favorite director. I give it one short on the stars because of some of the story elements are not my taste, but that being said, it doesn't diminish my incredible admiration for what the director accomplished. His work so simple he makes other people look great. All the acting was at the top of its game. The cinematography stellar."
- Carole Holliday (http://apps.facebook.com/flixster/u/798290421)
4/5 Stars
"Interesting, surely. But given that it's 3 hours in the company of a misanthrope festering in his own hateful bile, it's hardly a fun night at the movies. Knew I was going to have to see it, relieved to cross it off the list."
- Alexandra Mircheff (http://apps.facebook.com/flixster/u/789425277)
2/5 Stars
"I walked into this film knowing absolutely nothing about it. About 10 minutes in I was wondering who directed. I stayed interested, enjoying the off-beat way that it was filmed, the quirky script, and the somewhat intriguing premise...for a while. By about halfway in the film had steered down a number of cliched paths and the Kubrick-esque score had grown tiresome with it's psychological mindgames. By the time the director's credit flashed up on the screen at the end, I could only think to myself "There will be blood, yes, and it will be that of PT Anderson!" Arrrrrgh!!! Why, why, why?! Such promise. Such disappointment! Punch Drunk Love was a real step in the right direction, and redeemed Magnolia's excesses in a lot of ways, but this has gone in precisely the opposite direction, taking the overblown melodrama of Magnolia (which was somewhat effective and you could understand what it was trying to achieve) and instead trying to reduce things to the barest minimum, which frankly, just doesn't work in this film. PTA, I love you to death but you're killing me here!"
- Nicole Scheid (http://apps.facebook.com/flixster/u/802636651)
also:
(http://profile.ak.facebook.com/profile5/1138/88/s3405565_1312.jpg) (http://apps.facebook.com/flixster/u/789792807)
that guy has seen it.
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If Seth Rogen Retires, Blame Daniel Day-Lewis
Source: MTV
Before you pick up that ginormous turkey leg this week, take a moment to think of the insane and delightful universe we live in where Judd Apatow interviews Daniel Day-Lewis in front of an audience.
A while back, I read that this L.A. event was set to take place last week after a screening of the much anticipated P.T. Anderson flick, “There Will Be Blood.” Even the thought of it had me regretting my east coast address ever since.
So when I chatted up Seth Rogen about his amazing 2007, I decided to ask him about the event, and sure enough he was there the night before. Said Rogen, “the Q&A with Judd was hilarious. Judd’s first question was, ‘Daniel, I know you’re very private so I don’t want to ask about your personal life, but I have to ask…which did you like more: ‘Knocked Up’ or ‘Superbad’?’ And he clearly had never heard of either.” Rogen joked, “he was busy mining for oil in real life.”
As for the film itself, it’s got Seth’s vote. “The movie itself is absolutely mindblowing,” he said. Rogen continued, “it kind of makes me want to quit acting to watch Daniel Day-Lewis act. He came out afterward and talked and there’s literally zero similarity between him and the character. They don’t sound the same or look the same or move the same. It could not be more different than how I operate. I literally wear the same shirts.”
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I'm a fan of Seth Rogen since "Freaks and Geeks", and the fact that he did love CMBB tells me he has some great taste in movies as well (and I haven't even seen CMBB), so he's pretty cool in my book.
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Nicole Scheid is a bitch.
I'm going to get her pregnant then split while I'm high fiving PTA. Fuck her.
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New trailer?
http://imdb.com/title/tt0469494/trailers-screenplay-E34611-314
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New trailer?
http://imdb.com/title/tt0469494/trailers-screenplay-E34611-314
I think that's just the first theatrical trailer. Which I like alot more than the new one that's up at quicktime.
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Chere mill finally be BLOOD in
NEW YORK FUCKING CITY!!!!!
There Will Be Blood
With Paul Thomas Anderson and Daniel Day-Lewis in person
Tuesday, December 11, 7:00 p.m.
At Clearview Chelsea West, 333 West 23rd Street, Manhattan
2007, 158 mins., 35mm print courtesy Paramount Vantage. Daniel Day-Lewis (My Left Foot, The Last of the Mohicans, Gangs of New York) gives a magnificent performance as the ruthless and sociopathic oil tycoon Daniel Plainview in this “boldly and magnificently strange” epic (Variety). Loosely adapted from Upton Sinclair’s 1927 novel Oil, the film has been compared to Citizen Kane and Giant. This is the most ambitious film to date by the Paul Thomas Anderson (Magnolia, Boogie Nights). The discussion with Daniel Day-Lewis and Paul Thomas Anderson will be moderated by Peter Bart, Editor-in-Chief, Variety.
Tickets $12 Museum members/free for Sponsor level and above/$18 non-members. Buy tickets online (https://shop.movingimage.us/shop/catlist.php?cPath=57) or call 718.784.4520.
"the Paul Thomas Anderson" is the new "the Christmas."
EDIT: link fixed
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18 dollars, ugh, i swear - not for any other movie...
but there will be blood!
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HOLY SHIT!!!
BEST BIRTHDAY EVER.
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wonderful news.
great birthday present indeed.
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see you jerks there.
who's gonna ask a question and say they're from the Xixax Press?
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god, i have so much work to do. i don't know if i want to travel all the way down there to see a movie by myself when i have so much to do.
would there be a xixax meet'n'greet at the box office?
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taz we're all gonna be there. we're gonna show up Xixax LA like you wouldn't believe.
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ok, i bought em. my sister's coming with me.
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We should make a big xixax banner to have PTA and DDL hold in the event that we can get a group photo. If we have a large enough group, they'll have no choice but to say yes. That's where L.A. went wrong. They didn't have things organized.
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is everyone at least 21? b/c afterwards there will be drinking.
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yes. There Will Be Booze.
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Just got my ticket!!!
I'm going with Taz's sister!
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HEY GUYS BUY ME BEER THANKS.
asdkjghsakdjghasldkjgh it feels weird cos i want to look forward to the date, but i'll also have to have written like 3 papers, read moby dick, and studied for finals by that time.
i knew it would be bad timing but sheeshhhhhhhhhh.
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Well, at least you have the chance to go. I'll just stuck here, a thousand miles away, doing finals.
Distance makes the heart grow sadder. :(
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asdkjghsakdjghasldkjgh it feels weird cos i want to look forward to the date, but i'll also have to have written like 3 papers, read moby dick, and studied for finals by that time.
i can totally relate.
i have a shit load of work to do, starting with a goddamn 4000 word essay due tomorrow..
it'll be cool seeing PTA in person for the 1st time though. can't wait.
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it'll be cool seeing PTA in person for the 1st time though.
(http://snoot.org/i/wuss/vg/screens/punchout.gif)
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i mean that genuinely. haha.
besides finally getting to watch the movie and hearing him and DDL answer question after question,
it'll be great to finally be in the same room with the man.
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Just got my ticket!!!
I'm going with Taz's sister!
god... i'll wait for the 25th, thanks!
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raaaa i wish i lived closer to the city/didn't have class wednesday.
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raaaa i wish i lived closer to the city/didn't have class wednesday.
skip class and hitchhike.
together we can make this the worst decision of your life.
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Pedro, you'll regret it for the rest of your life if you don't.
You'll always be thinking 'What if?'
Do you really wanna always wonder?
I think you know the answer to that.
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got me a ticket.
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pedro is now having a talk with the little devil and little angel on two of his shoulders wondering...which one should I choose?
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Little Devil: Do yourself a favor and get your ass to New York City.
Little Angel:.....
Little Devil: Exactly.
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if pedro misses out, the angel and devil will collectively punch him out so bad, it'll be like he was in the middle of a crono/thor brawl.
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it'll be like he was in the middle of a crono/thor brawl.
while waiting in line at a daft punk concert with mogs and REDACTED
(http://i5.photobucket.com/albums/y154/pubrick/knocked_the_fuck_out.gif)
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If you're in New York - GO!!! Forget about everything else. I have NOTHING to do, but I'm in Dallas :(
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Daniel Day-Lewis' intense role-playing
The actor believes in becoming the characters he portrays. Here are some of his more eye-catching efforts.
By Susan King, Los Angeles Times
Robert De Niro packed on the pounds to play fighter Jake La Motta in 1980's "Raging Bull" and won his only best actor Oscar for his effort. Seven years later, he gained weight for his role as Al Capone in "The Untouchables." On the other side of the scale, Christian Bale and Emile Hirsch got dangerously thin for their roles in "Rescue Dawn" and "Into the Wild," respectively.
But no other contemporary actor has gotten into the skin of a character more than Daniel Day-Lewis, who has taken the Method style of acting further than Stanislavsky could ever have imagined. Not only has Day-Lewis gained and lost weight and changed his hairstyles and accents at the drop of a hat for his roles, he also does enormous hands-on research for his role. To play an American Indian in "The Last of the Mohicans," for example, the 50-year-old British-born actor made a canoe. And his meticulous detail to his craft is on view in his latest film, "There Will Be Blood," in which he plays an oil tycoon, Daniel Plainview.
"What helps me an awful lot is to somehow get rid of the illusion that one is making a film," Day-Lewis once said, "because that in itself creates a sensation of unreality."
Here's a look at the characters Day-Lewis has created over the years:
"My Beautiful Laundrette": After he appeared in small roles in 1982's "Gandhi" and 1984's "The Bounty," movie audiences got their first real look at Day-Lewis in Stephen Frears' 1985 film, which was released in the U.S. in 1986. He played Johnny, a swaggering gay punk with skunk-colored hair.
"A Room With a View": It was hard to believe that the same actor who played Johnny was also the stiff-upper-lipped, priggish British aristocrat Cecil Vyse in the award-winning Merchant-Ivory film, which was also released stateside in 1986.
"The Unbearable Lightness of Being": Day-Lewis learned Czech to playing Tomas, a womanizing doctor in Prague in 1968 in Philip Kaufman's acclaimed adaptation of the Milan Kundera novel. During the eight-month shoot, he remained in character on and off the set. The film, which had several erotic love scenes, turned Day-Lewis into a sex symbol.
"My Left Foot": Day-Lewis won a bushel full of awards, including the best actor Oscar, for his towering, audacious performance in this 1989 biographical drama about Christy Brown, the artist and writer who was born with cerebral palsy into a poor Dublin family. The only part of his body over which he had control was his left foot and it is with that that he learns to express himself through writing and painting. Not only did Day-Lewis downplay his good looks with his close-cropped hair and beard to play Brown, he also immersed himself in all things Brown. Before production began, he rented a house near the Sandymount School and Clinic in Dublin, one of the country's top centers for the treatment of the disabled, and studied the patients. He learned how to paint with his left foot and several of the paintings used in the film were his achievements. As with "Unbearable Lightness," he refused to break character, remaining in his wheelchair throughout the entire shoot even if that meant that he had to be carried by crew members over cables and other obstacles on the set.
"The Last of the Mohicans": Day-Lewis returned to his sex symbol status in Michael Mann's popular 1992 adaptation of the old James Fenimore Cooper tale. Buffed to the max -- he added 20 pounds of muscle to his lean frame with an austere training regime -- Day-Lewis burns up the screen as the brave and romantic Hawkeye. He also studied hunting, woodworking and how to track and skin animals. During the shoot, Day-Lewis steadfastly carried his rifle around during filming and even made his own canoe.
"The Age of Innocence": To prepare for playing the well-educated, high-society attorney Newland Archer in Martin Scorsese's 1993 adaptation of Edith Wharton's novel, Day-Lewis strolled around Manhattan for months wearing 1870s clothing and reeking of perfume.
"In the Name of the Father": Day-Lewis reunited with his "My Left Foot" director Jim Sheridan for this 1993 drama for which he received a best actor Oscar nomination as Gerry Conlon, who as a member of the Guildford Four was unjustly convicted of a bombing that had been carried out by the Provisional IRA. Not only did Day-Lewis lose weight for this role -- he subsided on prison rations -- he kept his Northern Irish accent on and off the set, and would spend periods of time in a prison cell. Day-Lewis insisted that the crew throw cold water on him and utter verbal abuses to mimic Conlon's life in prison.
"The Boxer": Day-Lewis and Sheridan collaborated for the third time in this 1997 drama about a former IRA member and boxer who tries to put his life and career back together after he is released from prison. To play the bulky pugilist, he underwent extensive training with former boxing world champ Barry McGuigan.
"Gangs of New York": After going into "semi-retirement" after "The Boxer" -- delving into his old passion for woodworking, as well as going to Florence, Italy, and becoming an apprentice shoemaker, Day-Lewis returned to celluloid in 2002 in Martin Scorsese's epic set in 1860s New York. Day-Lewis received his third Academy Award nomination for his no-holds-barred turn as New York City gang leader Bill "the Butcher." For his role, he took lessons to become an apprentice butcher. But his fervid dedication to the part is believed to have led to a severe case of pneumonia because he refused to wear a warmer coat when it got cold on location in Rome. Why? The garment was not in keeping with the time period.
"There Will Be Blood": For his role as the fiery oil man in Paul Thomas Anderson's adaptation of Upton Sinclair's "Oil!," Day-Lewis again physically transformed himself down to his Snidely Whiplash mustache and booming voice that recalls director John Huston and his famous father, actor Walter Huston. He also spent two years studying that period in American history and learned how to operate the tools of turn-of-the-century oilmen.
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Did you guys have trouble getting tickets?
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nope. :yabbse-grin:
edit: One of the workers at Moving Image just called me up asking where I heard about the prescreening since it wasn't publicized. I simply told them they best damn website in the world. Apparently some people have been abusing their online ticket sales system so he told me he was taking it off their website. I bought 82 tickets.
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It would appear that there will not be blood for anyone who didn't get the tickets yesterday.
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Goddamn it. I think I'm doomed to see this movie on its release date. Which isn't a bad thing, I guess, since the 26th is my birthday. But still -- I wish I could be there with you New Yorkers to join the xixax congregation. Alas, I shan't be.
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Goddamn it. I think I'm doomed to see this movie on its release date. Which isn't a bad thing, I guess, since the 26th is my birthday. But still -- I wish I could be there with you New Yorkers to join the xixax congregation. Alas, I shan't be.
dude come to nyc! you can crash on my couch!
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Alas, I'm too broke! Movemaking hasn't been anywhere near as kind to me as it was the year before last, when I flew to NY this time of year just to see Inland Empire. And I've gotta save my money (or credit card, I should say) for Park City...
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I wonder if this is real...
http://www.torrentreactor.net/torrents/1394658/There.Will.Be.Blood.(2007).DVDRip.XviD
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If this is real, I think Xixax membership should be taken away from anyone who downloads and watches it without, at least, seeing it in a theater good and proper first.
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AAAH IT REQUIRES A PASSWORD, WHY?!?!!11!!
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it's not in the .txt file it came with?
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If this is real, I think Xixax membership should be taken away from anyone who downloads and watches it without, at least, seeing it in a theater good and proper first.
why?
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It would make sense for a DVD screener to be making the rounds at this time wouldn't it?
I'd much rather watch it at home alone than at the NYC screening with a bunch of film nerds who smell like lunch meat.
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so i bought a ticket, but my boyfriend didn't get one, but wants to go. did anyone here happen to buy an extra?
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tickets are still available for members. best bet is to find someone who is a member or become a member.
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It would make sense for a DVD screener to be making the rounds at this time wouldn't it?
weird. my sis works for E! she sent me a text this morning claiming someone she knows there hooked her up with a copy of twbb & american gangster who cares what else.
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If this is real, I think Xixax membership should be taken away from anyone who downloads and watches it without, at least, seeing it in a theater good and proper first.
why?
Alright, with certain provisions...
I think anyone who lives in a country where it doesn't have a release date, should have at it. Or, if you have absolutely no ability to get to a movie theater that's showing it... fine. Other than that, if you haven't seen it and your seeing it for the first time as a downloaded file on your computer... then what's the point of even seeing it at all?
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If it's a DVD screener, the quality will be awesome and you can just burn it to a DVD and watch it on your regular TV like you just bought it.
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I downloaded it to see if it is real. it is not. they want you to subscribe to spam sites and porn sites before they give you the password for the file. I put in the password as password, it seemed to work, and then when i tried to open it, it said it was corrupt.
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cocksucker
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It would make sense for a DVD screener to be making the rounds at this time wouldn't it?
weird. my sis works for E! she sent me a text this morning claiming someone she knows there hooked her up with a copy of twbb & american gangster who cares what else.
Rip it.
American Gangster has been out for a month or so on the torrent sites.
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so i never knew Astrostic was gay.
not that it matters or anything, it's cool.. it feels like the board is a bit more diverse now. :yabbse-undecided:
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Yeah, let's all put our sexual preference in our profile so nobody can be surprised
Seriously, who gives a shit?
I really want someone to rip a CMBB DVD screener. I mean, really, really, really bad.
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If money is the motivation, why would you put up a fake rip of TWBB? Why not something bigger like uh, Mr Magoriums Wonderful whatever; something moms would be click happy for. Its probably real.
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i understand the need to see the movie NOW but seriously if you can see it in a proper big screen setting with excellent sound, do that FIRST. then rewatch it on the screener if you want, sure, that's where the majority of viewings will take place in the end.. but there can only be one first time, and i would not want it to be on a tv. the added bonus of being able to watch it naked with your dick in your hand without anyone staring is just not enuff for me.
i saw PDL on a screener for the first time cos otherwise i had to wait MONTHS. this time it's only until december 1st, apparently, so i can't justify it. of course, if you really don't give a shit about pta anyway, forget everything i said.
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i wonder how many of you know whether it's real or not but refuse to say so because everyone will know that you tried to watch it early.
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oh, i've watched the screener.
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Ballocks. I hate living in Florida. There's no better character-builder than patience...right?
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oh, i've watched the screener.
for serious? That link worked?
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Ballocks. I hate living in Florida. There's no better character-builder than patience...right?
right!
:yabbse-sad:
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oh, i've watched the screener.
for serious? That link worked?
pozer, help me out here..
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oh i havnt seen the movie.
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i missed the opportunity to get tickets to the MoMI screening with daniel day lewis but i just got an e-mail from a professor saying he will probably be able to hook me up with a few tickets to the premiere at the ziegfeld on the 10th.
attention nyc xixaxers: if my girlfriend has to work then i might have an extra ticket (i'm lookin' at you, mod).
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continue to look at me. know that your girlfriend does not really love you and/or it will probably not work out. but an xixax lasts forever.
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deep in my heart i've always known that.... unfortunately i just got an e-mail back and it's not a ticket-in-hand kind of thing. our names are on a list.
it will probably not work out. but an xixax lasts forever.
marquee material.
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Agree with marquee material, but only if there's "a/an" involved. Need we have the pronunciation conversation again?
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it's "JiJaJ". like Mejico.
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Agree with marquee material, but only if there's "a/an" involved.
the only way "an" can be justified is by spelling out the word, letter by letter. "an ex eye ex ay ex" "annexe sigh yex sayex".. that sucks.
haha, i like jijaj..
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JONNY GREENWOOD
Source: Los Angeles Times
In Paul Thomas Anderson's films, music is not just significant -- it's often front and center, impossible to ignore. Anderson prominently featured Aimee Mann's emotive ballads in "Magnolia" and Jon Brion's pump-organ symphonies in "Punch-Drunk Love," and his use of music reaches new heights of inspiration in "There Will Be Blood." In this visceral tale of greed, hypocrisy and sociopathic hatred in oil-rich, turn-of-the-20th-century California, the toxic sentiments seem to bubble up from (and seep back into) the volatile orchestral score by Radiohead guitarist Jonny Greenwood, working in movies for the first time.
"It was a far freer musical experience than I expected," Greenwood said. "There were no real click tracks, no points to hit or duck at exactly the right second. It felt like we were always recording minutes of music, rather than seconds."
Greenwood, whose band's "In Rainbows" is one of the year's best-reviewed albums, moonlights as composer in residence for the BBC Concert Orchestra.
Horror films were a reference point for "Blood," Greenwood said. He and Anderson also discussed "early American church music and what that would have sounded like in these isolated towns." Daniel Day-Lewis' eyes "were probably the biggest single influence," he said, for the mood of unspoken malice. "But there's also a kid in the middle of the story, so I tried to get some sweetness and hope in the music too."
The score's unnerving dissonance begins with the blast of strings that accompanies the first shot and never lets up. "We were limited to period instruments, but within that we tried to disconcert the viewer," Greenwood said. "It's the sense that something's gone wrong, a broken orchestra. For one cue, we detuned the strings to unplayable slackness. And some of the more conventional chamber stuff has awkward hesitations written into it. I'm really interested in mistakes."
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Campaign ad in the Screen Actors Guild magazine:
(http://i116.photobucket.com/albums/o15/Mac_Guffin/twbb.jpg)
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aw. Maxim quote. sad...
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that shoulda been the poster.
if this movie doesn't sweep all the major (and minor) awards, i'm blaming the font. and maxim.
thanks for scanning that one, mac. saved me a trip to my local SAG news stand.
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i did a double take thinking it was Xixax on my way down the quote.
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has anyone received their tickets for the Museum of Moving Image screening yet? I live in Boston, and I haven't gotten mine, and I can just see it not coming in the mail by Tuesday, and then I have to explain to the people there what happened, and then there's blood everywhere because they don't let me in.
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Shhhhhh...
http://nodatta.blogspot.com/2007/12/jonny-greenwood-there-will-be-blood-ost.html
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This is why Nodatta is the best blog on teh netz.
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Conversation yesterday:
My friend, Cody: I got to see Walk Hard this afternoon.. Matt got me into the press screening, he's seeing There Will Be Blood tomorrow
ME: What's Matt's number?
...
I took a picture of me praying and texted it to Matt.
I got a text with where and when to meet him this afternoon.
I saw There Will Be Blood today.
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Shhhhhh...
http://nodatta.blogspot.com/2007/12/jonny-greenwood-there-will-be-blood-ost.html
Thank you, sir!
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I saw There Will Be Blood today.
and then.....?
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I saw There Will Be Blood today.
and then.....?
and then I get to help interview John C. Reilly today.
oh, you mean what did I think? it was amazing... my spoiling spoils are in the spoiler spoil
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I saw There Will Be Blood today.
and then.....?
and then I get to help interview John C. Reilly today.
oh, you mean what did I think? it was amazing... my spoiling spoils are in the spoiler spoil
ok.
i'm staying away from that thread.
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The Background of BLOOD
One of filmmaker Paul Thomas Anderson's secrets to acting success involves people who have absolutely no shot at an Academy Award nomination.
By FilmStew.com
The buzz is steadily building about Daniel Day-Lewis' performance as turn of the century oil man Daniel Plainview in There Will Be Blood, and deservedly so. It is another tour de force, all-in bravura performance, destined to be the one to beat next February at the Kodak Center.
But as far as the film's writer-director Paul Thomas Anderson is concerned, an equal shout out deserves to be given to someone by the name of Kristan Berona. As a member of Sande Alessi Casting, an 11-year San Fernando Valley based extras casting outfit with credits ranging from Pirates of the Caribbean to War of the Worlds to the Austin Powers movies, Berona made sure the locals chosen for on location shooting in Marfa, Texas looked the part.
"Without exaggerating, I think that a film lives and dies by its extras," insists Anderson. "The locals in the film had that West Texas flavor that can only come from living in that place. You can have a great actor like Daniel Day-Lewis, but if the person who is standing behind him is all wrong and a distraction, you're dead."
Berona's boss, Sande Alessi – whose own extra work career at one point encompassed repeat stints as a waitress on Seinfeld - obviously has a sense of humor. Her business is incorporated as 'The Casting Couch Inc.,' a misnomer since most people willing to sleep with a producer or director are looking for much more than a part with no lines. Or at least the smarter portion of those engaged in this time honored pratice.
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Frick. How can the soundtrack not include the track where SPOILERS Oil geyser explodes/H.W. goes deaf?!!?!?! END SPOILERS
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That's not what happens to him, and that track, Convergence, was on Greenwood's Bodysong soundtrack:
http://nodatta.blogspot.com/2007/04/jonny-greenwood-bodysong-soundtrack.html
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Wow, I've seen the movie and I said that. Can I count that as a typo? :oops:
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wow that was scary to scroll over
on the updated official twbb website the song they have playing has certain parts that sound very similar to that one song from eyes wide shut
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from cigarettes and red vines:
"little boston news has been updated. all the previous production photos filled with crew members and assistants have been replaced with a deleted scene from the film called ‘campfire.’"
http://www.littlebostonnews.com
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Wow, I've seen the movie and I said that. Can I count that as a typo? :oops:
dumbie
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I haven't seen the film (and won't till feb - thanks, UK), and as such I'm obviously not about to go venturing into the jungle of the ruinous spoilers in order to find out: has anyone who has seen the film actually been disappointed by it at all? Considering the amount of expectation surrounding it, that seems extraordinary - and makes me even more worried in a sense...
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you should be worried. movie sux.
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on the vantage guilds website (http://www.vantageguilds.com/twbb/index.html) they put stuff in the "production notes" section that was previously vacant, some new quotes and other stuff although in some parts it seems to get a little too in depth plot wise, i skipped over these parts so im not sure how spoilery it gets
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L.A. Film Critics give 'Blood,' Lewis top honors (http://www.hollywoodreporter.com/hr/content_display/news/e3i58cca3606862e9736150a65533f9c29f?pn=1)
Paul Thomas Anderson's "There Will Be Blood," an epic tale of the oil business in early 20th-century California, won four awards from the Los Angeles Film Critics Association in their year-end voting Sunday including best picture, director and actor honors.
Anderson was selected as best director while Daniel-Day Lewis' performance as a rapacious oil man in "There Will Be Blood" won as best actor.
For cinematography, the group voted for Janusz Kaminski's work in "The Diving Bell and the Butterfly." Robert Elswit's cinematography on "There Will Be Blood" was runner-up.
For best musical score, the critics selected the score -- mostly songs written by Glen Hansard and Markita Irglova -- for the Irish musical "Once." Jonny Greenwood's score for "There Will Be Blood" was runner-up.
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So who all is gettin bloody tomorrow?
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So who all is gettin bloody tomorrow?
YES. can we get a roll call of anybody going who wants to meetup?
i know myself, cbrad and cinephile will all be in attendance and meeting up prior to the screening.
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Sigh, fucking jealous of you cunts.
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i'm going to be there, but all i know is i'll be writing a paper all day prior to and don't know when i'm getting there (should there be a concern for getting a good seat?). i'm also suppose to be going with a few chaps from class, but we'll see. i'll say hello at the very least. samsong will be there too if i'm not mistaken, right samsong?
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did anybody get a ticket in the mail? or is it willcall? don't make me have a freakout.
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I called them this afternoon and the guy I spoke to said that everyone who bought a ticket has their name on a list that they will check at the theatre doors. If you bought more than one ticket it shows that and they let in that many people. I wish they would just give us tickets so we didn't have to necessarily be present with everyone we bought a ticket for if we bought more than one.
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i'll be there, but i don't think i'm going out afterwards. i gotta get back up to school in boston.
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have they made any indication on just how limited this will be on Dec 26th?
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i'll be there.
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Berlin unveils first competition films
'There Will Be Blood' joins lineup
Source: Variety
"S.O.P. Standard Operating Procedure," Errol Morris' examination of human rights violations at the Abu Ghraib prison in Iraq; Paul Thomas Anderson's "There Will Be Blood," starring Daniel Day-Lewis; and Brazilian box office hit "Tropa Elite" (The Elite Squad), about the brutal war between gangs and police in Rio de Janeiro, will be among the titles contending for the Golden Bear at next year's Berlin Film Festival, which kicks off Feb. 7.
The lineup was released Monday in Berlin.
"Blood" will be the sixth film starring Day-Lewis to screen in Berlin and the fifth in the main competition section, after "In the Name of the Father" (1994), "The Crucible" (1997), "The Boxer" (1998) and "Gangs of New York" (2003). "The Ballad of Jack and Rose," directed by his wife, Rebecca Miller, screened in Panorama in 2005.
In addition to poignant themes of corruption, military abuse and the lasting effects of human greed, the first eight pics selected for competition also address the human struggle with suffering, disease and death.
Mexican director and former Berlinale Talent Campus participant Fernando Eimbcke tells the story of a teen coping with his father's sudden death in "Lake Tahoe," while German helmer Doris Doerrie's "Cherry Blossoms -- Hanami" revolves around a man with cancer who must come to grips with the unexpected death of his wife.
Chinese director Wang Xiaoshuai, who won the Silver Bear in 2001 for "Beijing Bicycle," is back with "Zuo you" ("In Love We Trust"), about a mother who has cancer and resorts to unusual measures to save her firstborn.
In "Gardens of the Night," Damian Harris follows the fate of two children who are abducted and held captive for nearly 10 years. Pic stars Gillian Jacobs, Evan Ross, Tom Arnold and John Malkovich.
Andrzej Wajda, who received the Golden Bear for lifetime achievement in 2006, will present his latest work, "Katyn," out of competition. Pic examines the long-taboo subject of the 1940 massacre of thousands of Polish war prisoners by the Soviet secret service.
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tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night. tonight's the night.
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When PTA meets xixax... There Will Be Blood.
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that made me laugh sparrows, thanks, I've been heavily sick from last friday night up to now and I needed a smile. Thanks...bleh.
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what time yall getting in line?
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i think cinephile will be there by 5pm. i'm leaving work at 5pm so i'll be there around 5:30.
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I'll probably be getting there around 5 as well.
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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:
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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
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I said - THEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEYRE NOOOOOOOOOOOOOOOOOOOOOOOOOOOT GONNA HAPPEN!
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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?
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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).
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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:
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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.
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I said - THEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEYRE NOOOOOOOOOOOOOOOOOOOOOOOOOOOT GONNA HAPPEN!
do you only know that reference because of In Rainbows?
i've had the screenname for several years.
i believe in this gag.
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I said - THEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEYRE NOOOOOOOOOOOOOOOOOOOOOOOOOOOT GONNA HAPPEN!
do you only know that reference because of In Rainbows?
i've had the screenname for several years.
i believe in this gag.
sep 7th.
many moons have passed.
you'll have to refresh my memory.
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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?
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(http://www.newyorker.com/images/2007/12/17/p465/071217_r16909_p465.jpg)
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
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Premiere pictures (http://www.gettyimages.com/Search/Search.aspx?query=z.i.H4sIAAAAAAAEAO29B2AcSZYlJi9tynt_SvVK1-B0oQiAYBMk2JBAEOzBiM3mkuwdaUcjKasqgcplVmVdZhZAzO2dvPfee--999577733ujudTif33_8_XGZkAWz2zkrayZ4hgKrIHz9-fB8_In7dfLn91etf49f4NX6PX_dskV3kvyb9mtD_f8FH7Tyv8_SqKMt0kqeTsqpmH6WrOl8U9Pmv-X_T82tsfH5N8zOpq6p9mdXZojGf_Vr4_-7Oj9GPX-_d6-vm9J1549fUv9ECD5r82g929rzf7zGE7Fxb_Bq_pv6OV37t7HxqOrF_4P-_Nn7ucL-L1r3pfv91qHFpv7B_4b1fl_6oF3Y84Z-_Pj7axV-_Hn8-sTA6f_Nr5yEU-ydD2bFQzjtQ3N_8Wh1CsX8ylD0Lpe5AcX8TZXILA3_82voHk2kXv_2Gpu1vbD4nmuQr8-mvGfz1a-WuK-_3XytvvI_t7792s7Jv_pr4w6DyW9kXL6fuxcupwe63xN879rd9-xtj_OtUtcdH9i_-apL7X-EvA5OZ6uHOjvf7rvc7M96vPbtaGlC_pvnj18H_m_XEDTH469fOMzcG_w_6feV_Yf_4dZsAWvjnr_3u2XM3Y94fvy39_9cvltNyPcu5YVZ7uHp_xJ__B3HDFJ4ABAAA#) from Monday night at the Ziegfeld Theatre in New York.
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i can't wait until the first of the new york crowd gets to a computer.
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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.
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i can't wait until the first of the new york crowd gets to a computer.
wow, there was blood!
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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?
wrong
you stole fizzly lifting drink, you bumped into the ceiling which now must be cleaned
YOU LOSE EVERYTHING!
i understood loud and clear, it's just so played out.
remakes of remakes of remakes made for tv...
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what the fuck are you talking about? your idea was pathetic. i'm glad CMBB didn't get a premiere anywhere near you just to avoid the total embarrassment it would have been for this board. silias was bad enuff. now please stop ruining what has otherwise been a classic thread.
i can't wait until the first of the new york crowd gets to a computer.
as long as they don't post useless cryptic bullshit like this:
Just Got back from the LA screening... DDL did not seem to be amused by Judd Apatow.
nevermind:
wow, there was blood!
that has been said so often it's not even a spoiler anymore.
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my mind has been blown.
goodnight everyone!
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a complete masterwork.
a "strong film", as I overheard a group of elderly say on my way out.
Daniel Day is something else. extremely powerful performance.
and that ending. what an ending..
i thought to myself, "now there's the PTA we know and love."
i was waiting for it and got it and it was the perfect ribbon to wrap around the present. a real fucking treat.
i don't know why but it reminded me of Kubrick, particularly The Shining.
and his direction here is astounding. every aspect of the film is very moving.
i think TWBB is Paul's magnum opus. easily.
it was so good it gave me a headache.
(edit: just reread pozer's review. and goddamn i agree with everything you wrote sir. absolutely agree.)
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i love paul dano's chin hair.
edit: no the serious response (cos you guys deserve one) is that its way too early for me to comment on the movie. i'll say that i didn't have as strong an immediate reaction as i did with say no country, but i'm already cringing as i type those words. what the fuck is an immediate reaction? was it good? yeah, obviously.. how good? we'll see.. i don't know how i feel about labeling anything a masterpiece after just seeing it, let alone a movie i've anticipated for so long.
i really did love dano's chin hair though.
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you gotta be kidding me.
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You guys are dicks. As if my expectations could not be higher.
So it's true? PTA should blow his head off because it's all downhill from here?
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best nap of my life.
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best nap of my life.
hahaha samsong is HILARIOUS when hes high!
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i would like to take this opportunity to belatedly thank the LA crowd for the informative reports of their screening. i very much appreciated the reviews, the insights, and the photos. thanks guys!
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in non-movie news, did all of the new york people enjoy themselves? sorry i didn't get to say hello, i hope mod sent my regards (i told mod to send my regards). third row wasn't so bad, but the dude to my right was. he literally laughed at EVERY SINGLE MOMENT. i don't know if you guys could hear him, but it was the WORST.
as a general rule though, people don't know when to laugh.
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i was in the middle to the left. and i think i heard him. he did laugh at everything.
maybe it was him that give me the headache. haha.
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i feel the same way i felt after all his other movies. i think i liked it, but i'm not really sure. i need some time to digest it. i always go in with expectations of what his new movies are going to be and they're always so different than how i thought they'd be. that is definitely a good thing. also, if you don't want your opinion colored, you shouldn't read this, but this is NOT paul's movie. this movie belongs to ddl.
anyway, my experience with getting there... so, i drove in from (big) boston to come see the movie. i stayed at my mom's house in long island and at around 5 my sister and i leave for astoria, where the museum of the moving image is located. we get lost in queens in medium traffic. it's 6:15 and i'm thinking we're going to be late and our tickets will be given away. so we call the museum, where we're informed that no no no, the screening's not at the museum (why should it be?) it's in fucking chelsea! luckily, there's a ramp for the triboro bridge right there, it spits us out uptown, and the fdr was fucking trafficky as hell. i'm amazed that we made it cross town and got our tickets FIVE minutes before the movie was supposed to start. we had to split up, but we got good seats. she was seated next to what looked like some huge pta dorks. i was seated next to these young asshole stockbroker types still wearing their suits and typing away at their fucking blackberry's going "dude, this movie's gonna fuckin' rawk, man. dude, bra..." these guys, soon as the credits roll, back on their fucking blackerries. they seemed to really like the movie, though. the people to the right of me seemed to think i was out of my mind for even attempting to talk to them. my sister informed me afterwards that as soon as the title came up on the screen, she got her period. no joke.
where were my xixaxers? i thought i saw modage (pretty sure i was five rows directly behind you), but then i went to the bathroom after the movie was over and i couldn't find him again. didn't see anybody else, so i just left. i was really hungry and i don't think my sister really felt like sticking around, given the circumstances. maybe next time?
number one, how annoying was that moderator? he was really unprofessional and incredibly douchey. number two, how cute are pta and ddl together? number three, i pray to god that none of you asked that lame question about rysher and floyd gondolli. if you were you deserve a good swift kick in da nutz. that was really pitiful and i'm glad paul reacted to it the way he did.
great night, but next time, i should organize with you fuckers more.
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number three, i pray to god that none of you asked that lame question about rysher and floyd gondolli. if you were you deserve a good swift kick in da nutz. that was really pitiful and i'm glad paul reacted to it the way he did.
what was the question and how did he react?
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i was in the middle to the left. and i think i heard him. he did laugh at everything.
maybe it was him that give me the headache. haha.
Yeah, that was Samsong.
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third row wasn't so bad, but the dude to my right was. he literally laughed at EVERY SINGLE MOMENT. i don't know if you guys could hear him, but it was the WORST.
(http://a969.ac-images.myspacecdn.com/images01/41/m_30e3c64c813b964a44b0face662633f8.jpg)
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i'm off to bed.
i'm gonna have Daniel Plainview nightmares tonight.
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i love paul dano's chin hair.
edit: no the serious response (cos you guys deserve one) is that its way too early for me to comment on the movie. i'll say that i didn't have as strong an immediate reaction as i did with say no country, but i'm already cringing as i type those words. what the fuck is an immediate reaction? was it good? yeah, obviously.. how good? we'll see.. i don't know how i feel about labeling anything a masterpiece after just seeing it, let alone a movie i've anticipated for so long.
i really did love dano's chin hair though.
I've heard more than a few people not have an immediate reaction to this. I like that you're not automatically calling this a masterpiece, but I'm curious way so many people seem to be a bit indecisive after this film because, like everything Anderosn's done before this, it seems like all of it's intentions and responses are meant to be felt immediately... then you breathe, then expand.
Or something to that effect. I'm pretty tired.
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number three, i pray to god that none of you asked that lame question about rysher and floyd gondolli. if you were you deserve a good swift kick in da nutz. that was really pitiful and i'm glad paul reacted to it the way he did.
what was the question and how did he react?
guy was basically like, "you've spoken in the past about your relationship with rysher and the making of sydney and i believe that has carried through with characters like floyd gondolli and now daniel plainview. would you like to tell me how your characters from then to now progressed in the way i thought they did b/c clearly i know more about your movies than you do and my thoughts are so brilliant, give me a damned medal." it was just a really obnoxious, hollow question, and paul (who i'm apparently on a first name basis with) just seemed real fed up, both with the moderator and pta nerds in general, and he was all, "uhhh, i don't know. i mean, we are where we are. this is the movie i made" and didn't really expound. more or less just dissed that guy and didn't even attempt to answer his bullshit question.
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the dude to my right ... he literally laughed at EVERY SINGLE MOMENT.
he did laugh at everything.
best nap of my life.
if even in your sleep you still laugh hysterically, maybe it's time to put down the bong..
and this DumbRysherQuestion guy takes the cake for biggest douche bag in attendance.
its great cos it was probably cinephile.
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ohh, haha. i wouldnt doubt that one. this thread. you boys. too bad you all already hung out, cause i'm planning a city trip this weekend.
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what the fuck are you talking about? your idea was pathetic. i'm glad CMBB didn't get a premiere anywhere near you just to avoid the total embarrassment it would have been for this board.
i was joking, hence the 'thumbs down' in my post.
i don't really expect anyone to do that.
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and this DumbRysherQuestion guy takes the cake for biggest douche bag in attendance.
its great cos it was probably cinephile.
SO close. One row back.
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guy was basically like, "you've spoken in the past about your relationship with rysher and the making of sydney and i believe that has carried through with characters like floyd gondolli and now daniel plainview. would you like to tell me how your characters from then to now progressed in the way i thought they did b/c clearly i know more about your movies than you do and my thoughts are so brilliant, give me a damned medal." it was just a really obnoxious, hollow question, and paul (who i'm apparently on a first name basis with) just seemed real fed up, both with the moderator and pta nerds in general, and he was all, "uhhh, i don't know. i mean, we are where we are. this is the movie i made" and didn't really expound. more or less just dissed that guy and didn't even attempt to answer his bullshit question.
hahaha taz, the guy was like right behind me.. btw, i recorded just about the entire Q&A. :yabbse-thumbup:
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btw, i recorded just about the entire Q&A.
right on. :yabbse-thumbup:
i hoping at least someone did.
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i woke up at 5am for about an hour just THINKING about movie.
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i'm listening to the 3rd mov of Brahms's Violin Concerto in Dmj, wishing I could at least watch that final scene again.
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hey everyone, there's a whole other forum where you can say whatever you want about the ending.
otherwise, thanks for the vague hints and autobiographical tidbits, they really mean a LOT to us!
gee, this crowd is really somethin. fuck NYC. i'm going to bed.
(and waking up at 5am thinking about modage waking up at 5am thinking about ted koppel)
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my head is still spinning from this movie. nothing i can say right now will do it any justice.
to those who haven't seen it yet, get ready for the ride of your cinephile life to date. and don't worry about expectations or hype or all the glowing reviews or the spoilers you accidentally stumbled upon or watching the trailer ad nauseum. this movie takes all your preconceived notions and gleefully tears them to shreds. nothing can prepare you for what you're about to experience. when it's over, you'll stumble outside in a post-cinegasm stupor trying to remember what your first name is.
and 'taz you're so wrong. pta owns this movie. it's by far the greatest thing he has or possibly will ever do.
i thought the moderator was fine, he was just obviously very nervous having to moderate daniel day freakin' lewis (who was such a sweatheart of a guy). i was sitting in the same row as the rysher douche. don't know if y'all saw but he was holding note cards as he asked that questions. but despite him the Q&A was really wonderful. here are a few sparkling gems (for those of you that were there, please add to this list)
- when paul first screened the movie for daniel, he was adamant about them staying sober. "we're not drinking!" 3 pints of guinness later they were watching the movie.
- they edited the movie in new york city, and paul said being in the city with all the loud noise really helped them. they also had vodka and steak night every wednesday, "no sides!" he screamed. "this is what the movie should be!"
- when paul first approached johnny to do the score, he sent him the script. johnny read it and said "dude this is great. but i've never read a script before. so in my eyes catwoman might be great."
- someone asked about the inspiration for having no dialogue in the opening reel. daniel said one of the most amazing things about the script was how much you learn about this character in just 20 minutes without anyone speaking (so true). pta went on to say "i don't think these guys really even talked much down there. what would they had said? 'uhh dude that's a lot of oil. we're going to need a lot of buckets.'"
- paul talked a lot about treasure of sierra madre, prefacing it by admitting that "daniel is so fucking sick of me talk about treasure of sierra madre!"
that's all i can remember at the moment. as far as xixax screenings go, sounds like la definitely beat nyc. there was no after party. none of us ask any questions. plus you fuckers didn't save me a seat. i don't know, i expected more from us.
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you aint kiddin, P. just read all this, and... wow. i suppose it took me a day to take the movie in, but get off the pipe NY and let's start seein some enthusiastic reactions here other than "uh, i think i liked it" or "yeppers, there was some blood right there."
so far noyes did it the best. i wanted to (at the very least) pour my excitement out to you guys as soon as i could. more to you than ppl i know. WHAT WAS THAT MOVIE DOING????!!!!!! it's epic anderson and you guys are talkin about ppl in the theater?! ive seen it twice and CANNOT WAIT 'til the 26th.
and what the fuck is this? why did i have to read this?!:
i love paul dano's chin hair.
edit: no the serious response (cos you guys deserve one) is that its way too early for me to comment on the movie. i'll say that i didn't have as strong an immediate reaction as i did with say no country, but i'm already cringing as i type those words. what the fuck is an immediate reaction? was it good? yeah, obviously.. how good? we'll see.. i don't know how i feel about labeling anything a masterpiece after just seeing it, let alone a movie i've anticipated for so long.
i really did love dano's chin hair though.
edit: nice job, ©brad. modage & friends should start figuring out what do with their thoughts soon as well. and this is the best that's been said:
and 'taz you're so wrong. pta owns this movie. it's by far the greatest thing he has or possibly will ever do.
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cbrad for NYC'er of the year.
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Whoever said this isn't a PTA flick but a DDL one is 100% right. Plainview is alive on screen, his words, his eyes, his walk are completely hypnotic. The movie could have been 6 hours long and no fan would complain -- he is that good. The film has a lot of master shots, not necessarily long steadicam takes, but just very long scenes played out in just one master. This allows the audience to breathe, take in the setting and characters and live in the environment. Visually, the film is consistent and beautifully shot, but not in a clean way. Push ins were a little bumpy at times, scenes were naturally lit, and the camera direction introduces the west as a character itself. The film's direction is simply dictated by Lewis's performance. This might come off as disingenuous, but realistically it was the smartest choice PTA made.
Spoilers
The film thematically seems to deal with alienation of one's self. Obviously greed, oil and religion play a large role in the action during the film, but it all leads to Plainview's breakdown. Haunted by the mysteries of his own past, he is crippled socially, forced to abandon and seek out his companions, whether it be his adopted son or his so called long lost brother. Where PTA has dealt with father son relationships before, he extends the familial ties to examine brotherly love and the role of identity, or lack there of, to form and break bonds in devastating fashion. Coupled with the physical lack of communication due to unforetold tragedies, PTA and DDL have created a monster in the Daniel Plainview character. Congrats to them, it was well earned.
The religious aspect of this film will polarize audiences. From the crowd's reactions they seemed to be eating up the religious ironies, maybe in an excuse to break the tension and madness, but more likely (imo) from a misinterpretation of the text. Granted, these are PT Anderson's fans, so who knows what the fuck they are thinking, but realistically that laughter will likely be confusion and alienation for a mainstream audience. This is not "for the christmas".
End Spoilers
Lastly, the Q and A sucked...it just sucked. I knew things weren't going so hot when the moderator was asking way to many questions, mtvnews worthy questions, that really seemed to spike the opportunity of listening to PTA and DDL talk. Granted these were very topical to a broad audience, but fuck, why so safe? The audience didn't do much better and when the moderator decided to ask even more questions after he had opened it up to the public, I was wondering where Judd Apatow was when you really need him.
Just from physical behavior, PTA seemed pretty nervous at times, doing this little hair brush with all one inch of his bangs. DDL seems easily offended, or rather, he is a man so confident and so fuckin good at his job, he commands respect and gets it. Where PTA can cajole and horse around, he seemed a little bit more self conscious in the presence of DDL.
A few tidbits of info that was brought up in the after discussion:
-- Dylan Tichenor edited TWBB, not Tatiana _______ a.c.e.
-- They edited TWBB in NYC and ate just steak and vodka some days -- "this is how we wanted the movie to be like: steak and vodka"
-- DDL doesn't seemed to be very religious, nor does he want to do anything but act -- didn't see the dailies, wasn't initially interested in seeing a first cut PTA had sent him.
edit note: if you absolutely MUST write spoilers, please change the font colour.
edit note#2: Deleting part of this due to non-hidden spoiling... shame shame
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- when paul first screened the movie for daniel, he was adamant about them staying sober. "we're not drinking!" 3 pints of guinness later they were watching the movie.
- they edited the movie in new york city, and paul said being in the city with all the loud noise really helped them. they also had vodka and steak night every wednesday, "no sides!" he screamed. "this is what the movie should be!"
- when paul first approached johnny to do the score, he sent him the script. johnny read it and said "dude this is great. but i've never read a script before. so in my eyes catwoman might be great."
- someone asked about the inspiration for having no dialogue in the opening reel. daniel said one of the most amazing things about the script was how much you learn about this character in just 20 minutes without anyone speaking (so true). pta went on to say "i don't think these guys really even talked much down there. what would they had said? 'uhh dude that's a lot of oil. we're going to need a lot of buckets.'"
- paul talked a lot about treasure of sierra madre, prefacing it by admitting that "daniel is so fucking sick of me talk about treasure of sierra madre!"
haha. good shit.
thanks for jogging my memory.
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Yeah, good job Noyes and ©MBBrad (p will be proud haha) and shame on mod and cine, I expected great things of both. :yabbse-undecided:
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Rysher dude and the person who jumped up like a boner (and didn't get called on)
(http://img79.imageshack.us/img79/7910/picture1nq3.png)
You're...p p paul thomas a a anderson.
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you aint kiddin, P. just read all this, and... wow. i suppose it took me a day to take the movie in, but get off the pipe NY and let's start seein some enthusiastic reactions here other than "uh, i think i liked it" or "yeppers, there was some blood right there."
so far noyes did it the best. i wanted to (at the very least) pour my excitement out to you guys as soon as i could. more to you than ppl i know. WHAT WAS THAT MOVIE DOING????!!!!!! it's epic anderson and you guys are talkin about ppl in the theater?! ive seen it twice and CANNOT WAIT 'til the 26th.
seriously, though? it's a really difficult movie to swallow. i can't stop thinking about it. yes, it was amazing and blah blah blah, but it really shouldn't be overhyped. it's not that kind of movie. everybody who hasn't seen the movie should stop reading this thread and everybody who has seen the movie should post in the other thread. i feel like we're doing an injustice to everybody here. fuck, i'm still in new york. i have class at 4, i gotta go.
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seriously, though? it's a really difficult movie to swallow. i can't stop thinking about it. yes, it was amazing and blah blah blah, but it really shouldn't be overhyped. it's not that kind of movie.
i can't see it any other way. my short review is particularly praising but only because i felt speechless and proud to have seen and experienced it.
it affected me strongly, in a way that resonates with the great lot of classic films i have seen in my time.
like i read somewhere else, even if you go into the movie thinking of over hype, it will, and should, prove itself as worthy.
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did anybody julianne moore in the row in front of us? or talking to paul in the lobby right before the q&a?
yeah, i kinda agree with taz because i wish i had known even less about the film than i did know. hype is a killer. i may write a review, i'll have to think about it.
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Julianne sat about three rows back and an aisle away from me.
the group of about 23 friends sitting next to me wanted to see her and i felt like letting them know where she was, but decided not to.
i felt good that they didn't get to. real good.
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I don't mean to contribute to the overhype but as far as I'm concerned, Blood makes every other PTA movie seem almost like Pablo Honey. The visual cues we associate with PTA are pretty much gone; he is in a different spot now. I love where he is and I hope to God that he continues on this path and would probably be disappointed if he reverted back to pre-Blood style. With Blood, he's put himself head, shoulders, and torso above his contemporaries with this film. With the exception of Malick (comparisons to whom are to be expected but they're superficial), I can't think of another filmmaker working today who could make an epic. When I think of the "epics" that have been made in the last few years, none of them stack up. I remember when The English Patient came out and everyone referred to it as an epic on par with Lawrence of Arabia but I never felt that from it; it was just a long movie with lots of wide shots of deserts. Blood is a true epic, as sprawling emotionally as it is visually and temporally, and yet it feels at times like there are ONLY two characters (similar to how PTA described Sierra Madre).
PTA should be incredibly proud of himself. If he said that he couldn't imagine making a better film than Magnolia, then he must never have imagined, until he started work on CMBB, that he could have made something on this scale. And I remember on the Boogie Nights commentary, referring to himself as something like "just some kid from the Valley" and "what the fuck do I know?" I think Rysher Douche wanted to know specifically, "How does one go from making the movies you used to make to one like this?" And PTA probably didn't care to divulge the whys and hows because it's a personal journey that worked for him. Getting a full answer to that question and expecting it to work for you is like reading Richard Branson's autobiography and expecting to learn the secret to becoming a billionaire. At the end of the day, it becomes trivia. What matters, as PTA so wonderfully put it last night, is that it's led to this and that we're lucky enough to see the astounding results of that journey.
The Oscars could regain some degree of credibility if they decided to nominate this for everything it is eligible for and then award it. Sadly, but not TOO sadly, I'm sure it's No Country's year for everything. But Blood drove home exactly what is missing from the Coen brothers, even in something as stripped down as No Country. Even when the Coens get rid of the surface quirks (for lack of a better word), you still feel them in a line of dialogue here or a grunt or inflection there; you are constantly reminded that it's Coens film. PTA has made a film that speaks for itself, that lives apart from its creator. It immerses you completely in this world. There isn't a trace of mockery here; it is exactly what it means to be. There are moments of humor - I don't know about SF or LA but our audience, apart from JG's guy there, was laughing a lot at, I believe, the simple brilliance of DDL's performance; he's so good, you delight in his work even when Plainview isn't being funny - but it's all honest and earnest.
Is it PTA's best film thus far? I'm reluctant to say yes, only because I've seen it once so far, but I'm leaning towards it. I mentioned in another thread my friend who saw Magnolia 16 times in the theatres; I can see myself doing that with this. I want nothing more than to bask in this film right now.
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I don't mean to contribute to the overhype but as far as I'm concerned, Blood makes every other PTA movie seem almost like Pablo Honey. The visual cues we associate with PTA are pretty much gone; he is in a different spot now. I love where he is and I hope to God that he continues on this path and would probably be disappointed if he reverted back to pre-Blood style. With Blood, he's put himself head, shoulders, and torso above his contemporaries with this film. With the exception of Malick (comparisons to whom are to be expected but they're superficial), I can't think of another filmmaker working today who could make an epic. When I think of the "epics" that have been made in the last few years, none of them stack up. I remember when The English Patient came out and everyone referred to it as an epic on par with Lawrence of Arabia but I never felt that from it; it was just a long movie with lots of wide shots of deserts. Blood is a true epic, as sprawling emotionally as it is visually and temporally, and yet it feels at times like there are ONLY two characters (similar to how PTA described Sierra Madre).
PTA should be incredibly proud of himself. If he said that he couldn't imagine making a better film than Magnolia, then he must never have imagined, until he started work on CMBB, that he could have made something on this scale. And I remember on the Boogie Nights commentary, referring to himself as something like "just some kid from the Valley" and "what the fuck do I know?" I think Rysher Douche wanted to know specifically, "How does one go from making the movies you used to make to one like this?" And PTA probably didn't care to divulge the whys and hows because it's a personal journey that worked for him. Getting a full answer to that question and expecting it to work for you is like reading Richard Branson's autobiography and expecting to learn the secret to becoming a billionaire. At the end of the day, it becomes trivia. What matters, as PTA so wonderfully put it last night, is that it's led to this and that we're lucky enough to see the astounding results of that journey.
The Oscars could regain some degree of credibility if they decided to nominate this for everything it is eligible for and then award it. Sadly, but not TOO sadly, I'm sure it's No Country's year for everything. But Blood drove home exactly what is missing from the Coen brothers, even in something as stripped down as No Country. Even when the Coens get rid of the surface quirks (for lack of a better word), you still feel them in a line of dialogue here or a grunt or inflection there; you are constantly reminded that it's Coens film. PTA has made a film that speaks for itself, that lives apart from its creator. It immerses you completely in this world. There isn't a trace of mockery here; it is exactly what it means to be. There are moments of humor - I don't know about SF or LA but our audience, apart from JG's guy there, was laughing a lot at, I believe, the simple brilliance of DDL's performance; he's so good, you delight in his work even when Plainview isn't being funny - but it's all honest and earnest.
Is it PTA's best film thus far? I'm reluctant to say yes, only because I've seen it once so far, but I'm leaning towards it. I mentioned in another thread my friend who saw Magnolia 16 times in the theatres; I can see myself doing that with this. I want nothing more than to bask in this film right now.
a-fucking-men.
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yeah i definitely second that, to a t.
and i too was pleasantly surprised as to how funny it was.
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Yes, thank you!!!!
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Mostly agreeing with Sparrow, but with (a little) less hype.
Those who said this is DDL and not PT didn't see the same movie I did. There's NO WAY another director could have made this, even with DDL and the same screenplay. This is VERY PT... he's just not screaming from behind the camera like he often does.
This thing has really been sitting with me well. The more I think about it, the more I love it.
Also, MD's post should probably just be completely deleted from this thread.
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Way too much hype here folks. But that's expected :yabbse-grin:
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Also, MD's post should probably just be completely deleted from this thread.
ahh, your best bet was to probably just ignore it...but then again I've been with this film from the start, so let me finish it. I was waiting for someone to say "oh well you didn't see the same movie I did..." because you are completely right with your regularity. You're holding on too tight. You make it sound like a DDL movie directed by PT is a bad thing. And yet,