Phantom Thread - SPOILERS!

Started by matt35mm, November 24, 2017, 07:59:23 PM

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kingfan011


wilberfan

I'm thinking wardrobe continuity Polaroid, maybe?

Tdog

Never seen this bts shot before. They both look so happy!


HACKANUT

In the restaurant Reynolds always eats at, there's a shot early on ( when meeting Cyril there) where the camera is clearly being hidden in the mirror behind them by a huge patch of tarnish. Later on when a young woman says she wants to be buried in his dresses, the mirror is visible and NOT tarnished. Any one know what they might have used to achieve this? Did they replace the mirror for one shot or use some sort of process to tarnish it? Could it be digital?

Alma

I think I remember in the youtube live discussions with the Phantom Thread team they talked about using VFX to hide cameras/lights in the restaurant mirrors. It was either in the livestream or the Q&A but they're both super long so I can't remember where exactly it came up or if it's the exact scene you're referring to.



HACKANUT

Thanks for the links! I had a feeling it was digitally done since the mirror looked so authentic to the location. Can't imagine some centuries old pub letting them do anything to the place.

HACKANUT


Pringle

PT will be playing on Turner Classic Movies on Saturday 7/29. A little under 5 years old, I'm pretty sure this is the most recent movie to play on TCM (at least as far as Hollywood features go) in at least the last 20 years

DickHardwood2022

Quote from: Pringle on July 21, 2022, 08:27:41 PMPT will be playing on Turner Classic Movies on Saturday 7/29. A little under 5 years old, I'm pretty sure this is the most recent movie to play on TCM (at least as far as Hollywood features go) in at least the last 20 years

That no doubt means a lot to Paul. He has that on in the background most days doesnt he?

wilberfan

Vicky Krieps: 'DDL's Method acting? I saw it as a circus'

For most actresses, getting your mainstream breakthrough in a Hollywood movie opposite triple Oscar-winner Daniel Day-Lewis would be a dream come true. But for Luxembourgian Vicky Krieps, shooting and promoting Phantom Thread (2017) was a "traumatising train wreck".

Directed by Paul Thomas Anderson (Boogie Nights, Magnolia, There Will Be Blood) and set in 1950s London, the film explored the intense power struggle between Reynolds (Day-Lewis), a predatory perfectionist of a high-society dressmaker, and Alma (Krieps), the latest in his long line of disposable, live-in model-muses.

"I never watch the films of people I'm going to work with, I don't Google them," Krieps explains via video from New York. "So I didn't know so much about [Day-Lewis's] method acting." She didn't realise he expected the cast and crew to address him in character, tiptoeing around the "great thespian". She pantomimes the deference on set, clutching her cheeks and whispering: "He's here! My God! It's him!" An eye roll. "I am a person who thinks we are all equal. We all sit on the toilet. I could see it all like a circus. I just didn't get afraid."

At first, as an open-minded adventurer, she danced to Day-Lewis's tune to see what she could learn. "But after half the movie, I was just really tired of it. Like: OK, I get it. It's a game. I've played it. But can we just talk normally now, please?" Can she imagine a female star demanding such royal treatment? She snorts. "No. No-no-no-no-no!"

Critics were spellbound by the way Krieps's character went toe-to-toe with Day-Lewis's – never lowering her eyes or expectations. What they didn't know is how little of that defiance was in the original script. Krieps says the resistance you see in her character's eyes is "all me, just not having it" when Day-Lewis paces around her with his tape measure, pronouncing: "You have no breasts. My job is to give you some. If I choose to."

Krieps tells me that "in the scene where Alma complains about 'you and your people and your walls and your rules...', that was really me talking to a famous actor, saying: 'Do you really need everyone around you to behave so strangely and talk in a whisper?' I decided I wasn't going to look at him in a special way just because he's Daniel Day-Lewis. He reacted to my feeling and played with that well. That dance became the movie, and in the end it was a wonderful thing."

But after the film wrapped, Krieps felt patronised all over again by the way she was expected to market it. "The media training was insane," she says. "There was this woman – very Old Hollywood – who said that I was not allowed to give my own opinions or describe my own experience. She said I should talk about the landscape and the costumes. I'm not joking. She made me watch videos of myself talking and told me I move my hands too much. I spent half a day after that walking around LA, thinking: 'What the f---? Am I not supposed to be me?'"

https://www.telegraph.co.uk/films/0/vicky-krieps-interview-method-acting-saw-circus/

max from fearless

Thanks for posting this wilberfan and Happy new year! Felt bad that Krieps found it so damn traumatising. I was a little surprised that she didn't know how DDL got down, the stuff about not googling him, etc. But I totally get her perspective and it must've been one helluva shock to get to set on day one. Her resistance definetly resonates throughout the film and I really want to read the script now, to see how she contributed/reshaped Alma's character from page to screen. Her performance is incredible and her going toe to toe with DDL on set makes sense, I just hope PTA was there for her and their good cos I'd love to see them work together again. Hell, I'd like to see her and DDL together again, but not at the expense of her well being etc... 

Drenk

The "traumatizing train wreck" is about the promotion of Phantom Thread, which is the reason why she's been avoiding Hollywood since. (Except Old. But there was no Oscar campaign for that movie.) Her resistance to Day-Lewis is her resistance to Woodcock, and the filmmaking allowed life to document the story. There are wonderful moments in the movie where she's obviously fucking with him (the long silence after he asks her to marry him). From what I understand, there was barely a screenplay, just ideas, possibilities, some lines. Less pages than minutes. A guideline. In that situation, you benefit from actors who are not blindly adoring everything around them. Otherwise, your weak screenplay stays weak.
Ascension.

DickHardwood2022

Quote from: Drenk on January 01, 2023, 07:18:17 AMThe "traumatizing train wreck" is about the promotion of Phantom Thread, which is the reason why she's been avoiding Hollywood since. (Except Old. But there was no Oscar campaign for that movie.) Her resistance to Day-Lewis is her resistance to Woodcock, and the filmmaking allowed life to document the story. There are wonderful moments in the movie where she's obviously fucking with him (the long silence after he asks her to marry him). From what I understand, there was barely a screenplay, just ideas, possibilities, some lines. Less pages than minutes. A guideline. In that situation, you benefit from actors who are not blindly adoring everything around them. Otherwise, your weak screenplay stays weak.

why do you imply the script was weak?

sometimes i have to tell myself that you apparently ARE a PTA fan despite not coming across like one haha

kingfan011

I always felt there was weird energy during the Q&As