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Paul Thomas Anderson / Re: Has anyone here ever met PTA? Tell us your stories....
« Last post by axxonn on November 12, 2017, 08:23:51 AM »
Some of us must remember this:

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

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

'The Secret History of Paul Thomas Anderson' - Esquire

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

Isn't there a moment in That Moment when you can sort of see Paul snort some coke? Think it's during the filming of the diner scene (which was a stressful reshoot, right?)
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This Year In Film / Re: Wonderstruck
« Last post by wilder on November 12, 2017, 02:10:51 AM »
This was so disappointing to me. Todd Haynes seems to have two main modes - stories sharply focused on single characters (Safe, Far From Heaven, Mildred Pierce, Carol), and stories that are tapestries or mosaics made out of one person (Velvet Goldmine, Iím Not There, Wonderstruck). I can never seem to get fully on board with the latter. I didnít feel anything during this movie, and was even let down by the cinematography (although the 70s NY stuff looked great).

It was such a missed opportunity. The charactersí deafness was a great foundation for visual storytelling, and yet the black and white stuff felt like a parody of silent film in the same way people try to make something 'noir' by desaturating their footage instead of shaping with light and shadow. It was all characters talking to each other exaggeratedly and then title cards of what they were saying. Wtf. And you know Haynes is capable of more. The scene with Julianne in the museum with the models was cool aesthetically, but not really fitting with the rest of the film. It just seemed like an excuse to go all Karen Carpenter Story. Tonally it was all over the place (that ending title card?!). Maybe the weirdest film Iíve seen in recent memory.
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This Year In Film / Re: The Square
« Last post by wilder on November 12, 2017, 12:46:32 AM »
Iíve been trying to write something about this for a few days and canít seem to gather my thoughts. I probably need to see it again. I liked the movie a lot, but itís not without issuesÖ


SPOILERS

First of all, itís hilarious.

One thing that didnít work so well for me was that the comeuppance Christian is supposed to be experiencing just didnít hit home as hard as I wished it had, and that lack of a really emotional punch kept the film fairly distant for me in a way that reinforces JW's assessment of the characters being ďcogs in ÷stlundís machineĒ. I needed more of an investment in seeing Christianís personal downfall for it to resonate.

It seems like the movie places all of the hypocrisy of the art world on Christianís shoulders, which heís not solely responsible forÖso that makes the connection to the ideas about social responsibility sort of loose and murky in a way that allows you to analyze them, but not feel them. The anxiety-inducing rides of The Killing of a Sacred Deer and Good Time may have been aiming for more pure panic attack mode than cringe brought about by cowardly behavior, but Iíve been spoiled by them, nonetheless.

I'm debating if collapsing Christian and the artist into one character would help solve this problem, or if separating creator and the presenter/distributor of the art produced is necessary to make the movie's point about societal checks and balances and safety nets...

Ditto with the monkey-actor scene. The film is extremely unsubtle in making itís points about human behavior. ÷stlund mentioned in the Q&A after the film that his film is partly about the lack of responsibility being taken in public spaces, and in this scene, the point is made by everyone eventually just succumbing to the monkey-manís behavior and bowing their heads in submission as he goes on being outrageous and eventually harrasses a woman. Only after the harrasment has gone on for a ridiculous amount of time does one man try to stop him, at which point a bunch of other people also dare to intervene. This all seems to me to be either cheap symbolism or completely unbelievable behavior. The whole scene seems to me to be constructed only to make this simple point, in an overly obvious way.

I felt there was a little bit more going on here. The ape-man scene is certainly revealing the groupthink dynamic, but before his entrance, itís also announced that the animal has an ďinstinct for fearĒ ó and itís very telling, the particular people he goes after: he attacks those who have a fear of being found out as poseurs (such as the artist run out of the room), people who position themselves as noble but propagate misery by allowing illusions of progress to take the place of real solutions to issues of social responsibility (did that make any sense? Itís hard to talk about this when the metaphors between the art world and society at large arenít 1-1, as in splitting Christian and the artist into two different characters). I agree the scene is repetitive, as Christian acknowledges the same thing when he agrees to fudge the artistís ruined work he knows is bullshit instead of allowing his co-worker to call the museumís insurance, but I admired the creative cinematic situation the scene creates. It's so fun to watch!

The very end was bad. Truly hammering the point home. The part with Christian, rain-soaked, confessing into his cell phone and later literally going door to door apologizing to the tenants of that apartment building...ugh. If ÷stlund was trying to prolong Christian's humiliation by making him confront the tenants, it didn't seem to work - he's never met them before, their reactions aren't going off any prior expectation of his character. And the movie is long, anyway. Could have chopped 20 minutes.

One question: why does Elizabeth Moss have her own monkey?
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This Year In Film / Re: Lady Bird
« Last post by wilder on November 11, 2017, 10:57:51 PM »
Totally agree. This kills! Such an unabashedly sweet, joyous, heartbreaking movie. Greta's directorial hand is super strong. I'd put this on par with some of Baumbach's films, at least. After inadvertently reading about the Dave Matthews tune I was wondering if it could be as effective as many were saying - even more...I choked up. This film has all the familiar pathos of John Hughes but with a wiser eye behind the camera and the quality amped up to eleven.
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The Grapevine / Re: I Love You, Daddy
« Last post by The Ultimate Badass on November 11, 2017, 10:46:34 PM »
So much horror? Come on. It' more pathetic than anything.

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Paul Thomas Anderson / Re: how would you rank his films so far?
« Last post by eward on November 11, 2017, 09:51:06 PM »
With Emojis:

1. The Master 🐒⚓️☝️
2. Magnolia ☔️🐸🌺
3. Punch-Drunk Love 📞🌴❤️
4. There Will Be Blood 🖤✝️🔥
5. Boogie Nights 🎥🍆🕺
6. Inherent Vice ✌🏻💨⛵️ (and I LOVE Inherent Vice)
7. Hard Eight ☕️🚬🎲

and we shall see where

Phantom Thread 👗✂️💔

lands....
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Paul Thomas Anderson / Re: Has anyone here ever met PTA? Tell us your stories....
« Last post by Tdog on November 11, 2017, 09:16:21 PM »
He said in a Boogie era interview that he used to do tons of coke while working a job pre "Sydney". Can't remember what the job was, might have been a courier or some sort of delivery job. You'd need to go through the Boogie interview archive on Cigs and Red Vines for more info.
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Paul Thomas Anderson / Re: Phantom Thread
« Last post by wilberfan on November 11, 2017, 08:50:16 PM »
Damn. A bunch of awards screenings were just announced here: https://focusfeaturesguilds2017.com/screenings/phantom-thread/

But only for Academy and SAG members. :(

There should be some in December that I can get into. I'll keep monitoring daily, as I have been doing...

That's a LOT of screenings.  I would imagine the 'buzz' will spread quite significantly after that weekend.  (Perhaps spoilers as well.)
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