Author Topic: The Master - Spoiler-Free Thread  (Read 337264 times)

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Stefen

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Re: The Master
« Reply #180 on: March 06, 2010, 02:51:10 PM »
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It doesn't seem like PTA to simply cast whoever is hot at the moment. Maybe in order to get financing he does.
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children with angels

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Re: The Master
« Reply #181 on: March 06, 2010, 10:11:11 PM »
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Dano was pretty hot after Little Miss Sunshine. And this guy isn't Robert Pattinson-esque guaranteed-audience kind of hot: he's just been noticed  by some critics and awards-mongers.
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Convael

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Re: The Master
« Reply #182 on: March 07, 2010, 02:39:47 PM »
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It doesn't seem like PTA to simply cast whoever is hot at the moment. Maybe in order to get financing he does.
I can't see him ever compromising for money considering the hell he went through to get Hard Eight financed (and could have gotten it financed much quicker if he picked different actors/let someone else direct), and that was when he was still a nobody and didn't have any of the money he has now to cushion him.

Sorry to be off topic but I'll ask again if anyone has the original TWBB script and if they could possibly send it to me?  Thanks.

Pubrick

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Re: The Master
« Reply #183 on: March 08, 2010, 12:14:41 AM »
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It doesn't seem like PTA to simply cast whoever is hot at the moment. Maybe in order to get financing he does.

you must have Jeremy Renner confused with someone who anyone has ever heard of.

and PTA with a fucking hack.
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modage

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Re: The Master
« Reply #184 on: March 16, 2010, 08:12:16 PM »
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Confirmed: Jeremy Renner Circling PTA Scientology Project; Universal Passes On Film
Source: ThePlaylist

As we first reported a few weeks ago, Deadline Hollywood confirms that Jeremy Renner is circling a role in Paul Thomas Anderson's gestating, to-be-titled Scientology film. As we assumed, it appears that Renner is indeed being considered for the role of Freddie, the young drifter who is becomes apprentice to The Master (Philip Seymour Hoffman). In many ways it was the worst kept secret in Hollywood that Renner and PTA had been talking, but it's only now that their discussions have been confirmed.

It's an intriguing development as in the early draft of the script that's currently making the rounds, Freddie is supposed to be in his '20s and in need of guidance and direction, having hit rock bottom with wanton alcoholism. With Renner nearing 40 years old, it's anybody's guess whether or not the script will be tweaked to play closer to his age. We're curious to see how this changes the script (or not). And just remember, this isn't confirmation he's taking the role yet. There's been salient conversations that PTA was resistant to Renner at first specifically because of his age. The character is supposed to be young and impressionable, which makes him open to manipulation and following the word of this self-made godhead, but that doesn't mean it can't be tweaked. It will be interesting to see how it all turns out. After all the script that is floating out there is a very early draft.

The other major development is that Universal has gotten cold feet, passing on the project and its $35 million budget. PTA fans have no need to fear as production company River Road is in serious talks to foot the bill. The company has been a haven for auteurs of late, funding Terrence Malick's "Tree Of Life" and Doug Liman's "Fair Game." Honcho Bill Pohlad is also an investor in distributor Apparition, so don't be surprised if the film ends up there. Longtime Anderson collaborators John Lesher and JoAnne Seller are expected to come on board to produce.

Reading between the lines, it appears the film is being shopped around as package which leads us believe that once the film finds a home, Renner will officially be on board. At the very least, we hope it gets him out of starring in "Battleship."
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Gold Trumpet

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Re: The Master
« Reply #185 on: March 16, 2010, 08:50:24 PM »
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Jeremy Renner is Mickey Rooney gone action star for me. Liked him since SWAT and really liked him in Hurt Locker. If they can hide the wrinkles in his face, he'll be very good for this. I think there are more acting chops in him than Dano.

Pubrick

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Re: The Master
« Reply #186 on: March 16, 2010, 09:30:37 PM »
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i don't see any reason why Renner would be auditioning for a part from the leaked script. the original draft of CMBB was about two warring families. could this be as early a draft as that? PTA could change the whole story or add new characters. there's no reason to try to imagine Renner as a 20yr old guy.

also, i don't like how this film is being known as "the scientology film".

it's time to start preparing for PTA's backlash/downfall. by this i mean the point in his career where he becomes too good for critics or the general public to understand what he's doing. he's actually been this way since he began but ppl somehow kept up with him. i think we're coming to the Barry Lyndon part of his career where everything he does onwards will be completely misunderstood, underrated, and looked over. Barry Lyndon was characterised as "kubrick's period piece" and that was all -- but it was THE MOST REALISTIC thing he has ever done, he illuminated a world lost to darkness, he reanimated corpses, he made statues come to life. everything afterwards was misunderstood and spoken of in the same "missing the point" kinda way.. the shining "that's just his horror film.. ooh scary" -- it was, as we all know, SO - MUCH - MORE than that.

of course this has always happened to many great movies since forever but the difference is that most directors never try any harder than what everyone expects of them. it started with Magnolia that he made a decision to expect a LOT from his audience. the film is generally thought of as the epitome of his "altman-esque" period.. he musta become SICK of this under-reading of his work so he did the opposite with PDL. irony of course is the Altman-esque elements in the story with the pivotal use of "he needs me". with that song and its usage PTA was acknowledging quite consciously the debt he owes to his influences, he needs his past as much as he needs to find something new. and so PDL became known as just a "sandler movie", undersold, misunderstood.. everyone generally missed the point.

CMBB is the biggest case of everyone missing the point so far. the film quickly became known as "an american classic about GREED and OIL" ok the book was called OIL but the film is as much concerned with that macguffin as it is with being a faithful adaptation of its supposed source material -- NOT VERY MUCH AT ALL. PTA's idea of adaptation is sophisticated, it isn't about the book but the information he got from it. he is just paying respect to the book as much as he was paying respect to altman in PDL. he can't escape his past or the origin of his ideas. but OIL and GREED wasn't the point. neither was Capitalism. these are all buzzwords that ppl use to try to contain what seems like a sprawling and unwieldy work. the problem is that no one tries to go much further than that.
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hedwig

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Re: The Master
« Reply #187 on: March 16, 2010, 11:24:58 PM »
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hey pubrick, maybe stop posting your personal thoughts.

I Love a Magician

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Re: The Master
« Reply #188 on: March 16, 2010, 11:35:26 PM »
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nah don't

Pubrick

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Re: The Master
« Reply #189 on: March 16, 2010, 11:36:41 PM »
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under the paving stones.

modage

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Re: The Master
« Reply #190 on: March 17, 2010, 12:30:28 PM »
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Paul Thomas Anderson Talking Religion With Philip Seymour Hoffman And Jeremy Renner
By MIKE FLEMING | Tuesday March 16, 2010 @ 6:28pm EST
Comments 33 Email This  |  Print This  |  Bookmark and Share

EXCLUSIVE: After the disappointing box office returns on Paul Greengrassís thoughtful but vastly expensive action polemic Green Zone, whatís gonna happen with a new Paul Thomas Anderson drama that wonít get made by Universal because of its $35 million budget? Iím hearing talks are serious for Bill Pohladís River Road to fully finance a film that will star Philip Seymour Hoffman as a charismatic intellectual who in the 1950s becomes the leader of a start-up religion that takes off like wildfire. The Hurt Lockerís Jeremy Renner is circling the role of a young drifter who becomes his right hand man but begins to question his mentor and the whole belief thing. The presence of Oscar winner Hoffman and Oscar nominee Renner gives PTA another Oscar-bait movie, and a topical one, as the storyline questions long established religions as well as comparative upstarts like Scientology and Mormonism. But the $35 million price tag was blasphemy to some indie distributors who considered the package.

Jeremy Renner-7Iím also hearing that PTAís longtime agent and former Paramount honcho John Lesher is likely to join as producer alongside Andersonís longtime collaborator, Jo Anne Sellar. River Road seems a strong fit, given Pohlad's affection for auteur fare. He made possible the Terrence Malick-directed The Tree of Life with Brad Pitt and Sean Penn, as well as the Warner Bros castoff Fair Game, the Doug Liman-directed drama about outed CIA op Valerie Plame which stars Penn and Noami Watts. Pohlad is principal investor and partner with Bob Berney in the distribution shingle Apparition. It's unclear if Berney will get the PTA film, though it seems right in the distributor's wheelhouse. Apparition next distributes The Runaways for Pohlad.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Pas

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Re: The Master
« Reply #191 on: March 17, 2010, 12:37:43 PM »
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I have a similar hunch (spelling?) as you do P...

by this i mean the point in his career where he becomes too good for critics or the general public to understand what he's doing.

I didn't know that Pohlad guy but if he let Malick do that crazy awesome Imax prologue thing to The Tree of Life he looks like a pretty sweet backer for PTA.

Fernando

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Re: The Master
« Reply #192 on: March 17, 2010, 02:22:22 PM »
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CMBB is the biggest case of everyone missing the point so far. the film quickly became known as "an american classic about GREED and OIL" ok the book was called OIL but the film is as much concerned with that macguffin as it is with being a faithful adaptation of its supposed source material -- NOT VERY MUCH AT ALL. PTA's idea of adaptation is sophisticated, it isn't about the book but the information he got from it. he is just paying respect to the book as much as he was paying respect to altman in PDL. he can't escape his past or the origin of his ideas. but OIL and GREED wasn't the point. neither was Capitalism. these are all buzzwords that ppl use to try to contain what seems like a sprawling and unwieldy work. the problem is that no one tries to go much further than that.

I love these comparisons you do with kubrick's work, and the 'adaptation' of oil makes chere mill even more alike to the shining than it already was.

the opening - seeing that hill reminded me a lot of TS, of course the music is key to this. although one could argue that the first 20 minutes of cmbb are more like 2001's dawn of man sequence.

music - greenwood channeling penderecki and bartok only resulted in one of the most original soundtracks ever, it blended with the film beautifully.

the mansion - the overlook. and just like jack was locked at that isolated place, here even thou it's no prison, plainview looks like an isolated mad man that has no place to go.

Alexandro

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Re: The Master
« Reply #193 on: March 17, 2010, 02:40:11 PM »
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yes, there's enough evidence from PTA himself and collaborators talking about the huge Kubrick influence in there will be blood. you may say Kubrick has a huge influence on everyone but there are only two other filmmakers who have done it so shamelessly and perfectly: the coens.

comparing both careers (PTA and Kubrick) though, I certainly hope that he can be at least one movie away from his "Barry Lyndon".

Gold Trumpet

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Re: The Master
« Reply #194 on: March 17, 2010, 02:50:40 PM »
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I only see a slim influence between Kubrick and PTA, especially in There Will Be Blood. In some ways, he embraces the tonal nature of Kubrick with some of style choices, but in other ways he embraces a lot of the naturalistic aspects that feel like hallmarks of Altman and other 1970s filmmakers. One could argue PTA is becoming the best marriage between both of those filmmaking worlds because when Kubrick was making films in the 70s and 80s, he was already planted in financial acceptance and seen on a different level by other filmmakers who were struggling to just get their next projects greenlit. If anything, Kubrick was showing his age by being more influenced by 1950s and 60s styles and only minimally embracing new aesthetics of the 1970s.


 

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