Started by edison, January 18, 2008, 08:47:02 PM
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Quote from: In the studio watching Dick in a Box play before the live crowd, with Akiva and Paul Thomas Anderson. #mySNLdays
Quote from: Cigs & Red VinesThe very smart and good people at the Talk Easy podcast brought us the extensive interview they did with PTA-alum Philip Baker Hall from a couple weeks ago and PBH talks quite a bit about the three films he did with Paul. If you're short on time, that stuff comes in right around the 45 minute mark, but the whole thing seriously warrants listening. Thanks to Sam and Nora from Talk Easy for laying this embarrassment of riches at our feet --
Quote from: axxonn on May 28, 2017, 08:07:03 AMReferring to TWBB as his "last film".
QuoteBoogie Nights (1997) and Magnolia (2000)Tichenor said that one of the challenges in editing Boogie Nights was how to integrate long takes with coverage as well as figure out the answer to the question, "Whose story are we telling?"This would become even more of an issue on their next collaboration, the operatic Magnolia, where, in the opening sequence, it was necessary to introduce all of the different characters and their connections, as well as establish rhythm and theme. While some of the shots in Magnolia were written into the script, others were shot five or six different ways and then altered in the editing room. Tichenor said that P.T. Anderson uses Microsoft Word to write his scripts, doesn't really adhere to traditional format, and does "all the things you're told never to do" as far as writing camera directions into his scripts. Of course, the editor noted that "Anderson can get away with it."During post, Tichenor and P.T. Anderson went back and forth over the film's 188-minute runtime. Whenever Tichenor asked if there was anything Anderson would consider cutting from the film, Anderson responded, "'Like what, Dylan? What would you cut?'" Tichenor then related that "about two years later, I get a text from Paul saying, 'Magnolia's playing on TV. It's too long. Great, thanks a lot, Dylan.'" There Will Be Blood (2007)After Magnolia, Tichenor and P.T. Anderson next collaborated on what has recently been named by The New York Times as the best film (so far) of the 21st century: 2007's There Will Be Blood, which earned multiple Academy Award nominations, including one for Tichenor. Unlike their first two collaborations, which were multi-character narratives with lots of parallel action, TWBB is, in the editor's words, "a different kind of beast." From the start, Tichenor and P.T. Anderson approached the project like a horror film, employing "gothic shot framing and trying to build tension without a lot of cuts." This methodology even factored into the font that was used for the titles. "The cuts that are more nerve-wracking to me are the slower, quieter ones," Tichenor continued. "There's a big spotlight on, 'Now I'm changing perspective; now I'm showing you something else.'" He explained that because the character of Daniel Plainview was so off-putting and inhuman—in Tichenor's words, "a huge ass"—one of the challenges was eliciting empathy from the story. He and P.T. Anderson approached this problem through the character of H.W., Daniel's adopted son, whose perspective of the action they tried to bring into focus in every scene. "I kept asking Paul for more shots of H.W.," Tichenor said. "The same stuff is happening, but let's watch it through his point of view."P.T. Anderson obliged, even adding scenes of the two bonding. (Here's a deleted one; it's the first of the three clips.)In contrast to quieter scenes, the editor feels as though "action functions more like [a] mosaic, where you have all the little pieces. When it's good, you get movement and flow."Regarding the decision as to when to drop the sound out during the above set piece, Tichenor said that, beyond wanting to make sure that what had just happened (H.W. losing his hearing) was clear to the audience, it also was a way to bring the audience back into H.W.'s point of view and "keep that thread" of showing events through someone other than Daniel's eyes. Tichenor also talked about the strategy underlying the sequence's rhythm."It was not a fast movie," he said. "[In this sequence], we wanted to do set-up, set-up, static shots, then a long, handheld walk in...and from there, we wanted it to snap up." In fact, while cutting the seven-minute set piece, Tichenor found that there weren't as many angles as he wanted to use. As a result, he constructed some of them by punching in and out of different takes. "There are more angles than there were actual shots," he said. For example, when H.W. is blown back by the explosion, Tichenor made use of what he referred to as "...little repeated action things," i.e. quick cuts of the same footage, in order to add velocity to the sequence.