Started by wilder, November 30, 2017, 02:59:02 PM
0 Members and 1 Guest are viewing this topic.
Quote from: wilder on December 01, 2017, 03:11:03 PMRight...and then with the adoption of tools, everything changes...I'm putting it.
Quote from: Tdog on December 01, 2017, 03:32:44 PMOh and the baptism scene in There Will Be Blood is visually similar to the duel scene in Barry Lyndon. Theres similar light spilling in through the window.
Quote from: Sight & Sound 1998One of the things that's interesting about Boogie Nights is its tone shifts, for instance between dramatic and comic/parodic.There are two answers to that. First, two of my favorite movies are F.W. Murnau's Sunrise and Jonathan Demme's Something Wild, what I call gearshift movies, that can change tones [snaps fingers] like that. I like to see that in movies because that's what real life is like, and it's also good storytelling.
Quote from: Tdog on December 01, 2017, 04:55:06 PMYeah I think it might have been a bit of stretch but There Will Be Blood really seems like a best of Kubrick in terms of influences.
QuoteAnderson, a fan of Stanley Kubrick's films, wanted the bowling alley to have a Kubrickian symmetry and menace. "Paul wanted to paint the walls white and turn the room into a white cube, like something out of A Clockwork Orange," says Elswit. "There's no character to the lighting at all; it's just a white box. Paul kept marveling at how Kubrick did things, and I would say, 'But Paul, Kubrick built sets. He didn't come walking into a place like this!'"
Quote from: Lottery on December 06, 2017, 03:36:19 AMI reckon he was done with Kubrick stylistically by the end of TWBB. TWBB certainly seems like the one where the influence was most prominent, perhaps it helped him get it out of his system.
Quote from: Just Withnail on December 06, 2017, 12:13:28 PMBut those kind of white bare walls Kubrickian walls are very present in both The Master and Inherent Vice as well. Much more than TWBB.
QuoteOn The Master it was just a gut thing, I saw it that way in my head. I was actually seeing it in 1.66, an even boxier, more European aspect ratio. It probably has to do with the fact that most of the movies I watch are 1.33, they're older movies. On The Master, somehow it felt more accurate to the period...I don't fetishize '70s movies the way some people do. I love them, but my models are those '30s films, and I'm always trying to emulate that. Sometimes you can't – sometimes you try to get things in one shot and you realize you're forcing the staging, and you have to own up to the fact that it's not working. You always have to keep an eye on it to make sure that your visual ideas aren't affectations, and that you're not just adhering to some kind of dogma. But when you can make that kind of thing work naturally, it's just the best.
Quote from: Lottery on December 06, 2017, 08:18:08 PMI also think Kubrick's later work also doesn't have the same type of humanity that has driven the entirety of PTA's career.
Quote from: Lottery on December 06, 2017, 08:18:08 PMSomeone will inevitably ask about the Kubrick connection in regard to the PT 'lighting cameraman' credit in the coming months so we might hear more on that front.
QuoteYou've talked about the doc "Let There Be Light" and book "At Ease: Navy Men Of WWII" as being great reference points but can you talk about any other books/films/art that inspired "The Master"?It's always such a long list.....sometimes it's whatever was on TV that morning. Other times, it's something i'm really into. tons of old film noir's. Out of the Past, dark Corner, Mr. Arkadin, Lady from Shanghai, etc. Nightmare Alley! Val Lewton stuff like Seventh Victim and Ghost Ship. Dianetics in Limbo by Helen O'Brien. Helen Forrest/Kitty Kallen and anything by Jo Stafford music wise. also listened over and over to Stravinsky piece "Ebony Concerto." Duke Ellington - Peer Gynt Suite. list goes on.....oh! how about John O'Hara short stories. earlier drafts have a slight adaption of one of his stories, "Bucket of Blood" I think. great short story.
Quote...All that stuff with Alligators in sewers was stolen from Pynchon's V. We looked around some sewers in upstate New York...... eventually decided to ditch the whole story line in writing before spending money and time on something unnecessary to the Main Event.
QuoteWe know it was always a semi-regular sing along at the old Largo but how did "Slow Boat To China" come to you as the climax of the film?Can't remember the moment of decision for sure....but i think i was influenced by a tapestry on a bathroom wall i saw at a house i was staying at in Gloucster, Mass. great fishing/sailing town and the tapestry was about Sailors and Lighthouses lighting up the night...it was a little poem with a lighthouse on it....reminded me of Slow Boat to China the way it rhymed......that's probably the connection. kept going back to that bathroom while writing and then presto -chango - you've got Master's serenade.
Quote"We talked a lot about '50s music, what was popularly heard then as well as what was being written and recorded," Greenwood tells Variety. "Nelson Riddle and Glenn Gould's Bach recordings were the main references. I was interested in the kind of jazz records that toyed with incorporating big string sections, Ben Webster made some good ones, and focus on what the strings were doing rather than the jazz musicians themselves."
Quote from: Lewton on December 10, 2017, 01:28:26 PMI wish we knew more about his favourite books...
QuoteHe's much more comfortable discussing books – stories by Daphne du Maurier, Anya Seton, Shirley Jackson and Charlotte Brontë (at least by way of Robert Stevenson's 1943 film adaptation of Jane Eyre) fed into Phantom Thread's stuffy, sensuous milieu – and movies.
Quote"If I fetishize certain films, it's ones from the 1930s and 40s, getting up into the early 50s, too. Those are the ones that really get me going." Phantom Thread feels indebted to such sources: Lewis Allen, David Lean's smaller-scale dramas, and especially German exile Max Ophüls."Max Ophüls! Yes!" he pops. "Those films have always been big time – big time! – influences on me. His films are always so opulent, even if they're just interior chamber dramas. Just the lavishness of the smallest rooms! Four stars! And that fluidity he had with his camera? I've always tried to rock that look."