Other actors/directors/etc. who mention PTA

Started by edison, January 18, 2008, 08:47:02 PM

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jviness02

#454
March 14, 2022, 08:19:18 PM
Quote from: Yes on March 14, 2022, 01:52:47 AMhttps://twitter.com/PantsBoys/status/1503082851348230148

I know this is an "editing" choice technically, but it's really a directing choice. All of PTA's films are like that, going back to Hard Eight.

wilberfan

#456
March 17, 2022, 09:38:46 PM

jviness02

#457
March 18, 2022, 12:18:22 AM
After listening to PTA's episode of Smartless, I listened to a few other episodes on a road trip and Charlie Day talks about going to PTA's house to watch an early cut of Licorice Pizza. For those who don't know, Day is married to Mary Elizabeth Ellis who plays Cooper's mom in the film.

PTA discussion begins around 37:50. Only real interesting tidbit is Paul apparently has a barn that he converted into a screening room.

Yes

#461
March 30, 2022, 05:57:23 PM
Almodovar:

QuoteAfter that, I meet with Paul Thomas Anderson. We first met a long time ago, in 2002, at the Cannes Film Festival. I presented him with the Best Director award for a film that has what for me is an unpronounceable title, "Punch Drunk Love," and we celebrated intensely that night in the discotheques on the French Riviera. I also meet the two protagonists of his "Licorice Pizza," Alana Haim and Cooper Hoffman, both brimming over with the same charm as in the film and I have to tell both of them so. It's been years since we've seen two presences like theirs in the cinema, so fresh, so seductive, so personal. I fell in love with them, just like the camera that shot them in the film.

https://www.indiewire.com/2022/03/pedro-almodovar-oscars-2022-zendaya-will-smith-1234712971/

wilberfan

#462
April 02, 2022, 07:55:15 AM
Pedro Almodóvar's funny letter that narrates his night at the Oscars

QuoteAfter that episode, the director comments on his brief encounter with Paul Thomas Anderson. "We met a long time ago, in 2002, at the Cannes Film Festival. I gave him the award for Best Director for a film that has an unpronounceable title for me, "Punch Drunk Love", and that night we celebrated intensely in the clubs of the Côte d'Azur." The Spanish filmmaker exchanged words with the acclaimed PTA and recognized him for his excellent work at Licorice Pizza, where he also became a fan of his breakout stars, Alana Haim and Cooper Hoffman. "It's been years since we've seen two presences like hers in the cinema, so fresh, so seductive, so personal. I fell in love with them, as did the camera that shot them on film."

wilberfan

#463
April 18, 2022, 05:44:13 PM
Bill Nighy:  "I don't like any film more than I like Punch-Drunk Love."

itwasgood

#464
May 06, 2022, 11:46:17 AM
John C. Reilly talking about Paul in his new Vulture interview:
https://www.vulture.com/article/john-c-reilly-in-conversation.html

QuoteThere was a stretch between about 1989 and 2002 when it seemed like every top director wanted to work with you — Brian De Palma, Tony Scott, Paul Thomas Anderson, Terrence Malick, Sam Raimi, Martin Scorsese, Robert Altman, Rob Marshall, and Stephen Daldry. What was it like being that hot?
Well, those directors all discovered me one at a time. Brian De Palma literally did discover me, and after that, the others were like, "Oh my God, I found the perfect person for this role. I don't know where this kid came from, but he's perfect." Paul Thomas Anderson was the first one who put it all together, who was like, "I know you from this movie, and this movie, and this movie. And I know you can do more than you've been doing, so I wrote this part for you."

As an actor who's been directed by lots of filmmakers, what do the good ones do for you? What advice would you give to a mediocre director who wanted to get the best possible performance out of John C. Reilly?
I can tell you what it's like to work with Paul. He's someone who's so excited to see what you're going to do next. That sounds like an obvious thing, but having one person's complete attention while you're acting is important. You would be amazed at the number of film sets where the director is looking at the monitor or worried about what the lighting or camera is doing. Where there's no one emotionally connected with you to come up after the take and say, like Paul does, all sweating and excited, "Oh yeah, that was so cool. I saw that time you got a little more pissed off when you said that thing. Let's keep going that way. That's so great. Yes, yes, yes." Martin Scorsese is the same way: He hires great people, and he lets them surprise him. I haven't worked with many mediocre directors, but if I were to describe someone that way, it would be because they weren't paying attention.

You once told Paul Thomas Anderson you were tired of playing "heavies" and "child men" and wanted to play a character who falls in love, and so he wrote your part in Magnolia. Do you think that movie changed the way audiences saw you?
I don't know. I hope so, because that was a personal role and I really felt connected to it. Paul saw I was capable of doing more than character work, that I was someone who could carry a story. And actually, what I said to him was, "Hey, you've got to write me my Sunrise." What I meant was a movie called Sunrise from the 1920s. It's this romantic story. I can't even remember what it's about, but at that point, I had just seen it. Paul didn't realize I was referring to that movie, so he wrote the scene at the end of Magnolia in the morning when the sun is coming up. He thought I literally was like, "Write me a sunrise." He and I have actually never talked about that.
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