I 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.
I'm not sure about this.
The office footage in the
"Was There A Fight?" teaser for
The Master -- which I still think is just amazing as anything in the actual film -- seems to borrow from
The Shining. Although, perhaps that's just coincidental, as Anderson was probably thinking of Huston's
Let There Be Light in that instance.
Still, there's something about the sets and locations that PTA uses, and the way they're decorated, and the way the actors' faces are lit, which recalls
The Shining and other Kubrick films. I've struggled to define this effect in another thread. It has something to do with the generous distribution of light and a related sense of the surroundings having a certain stark authenticity to them -- intricate textures, a lived-in feel, etc. Lancaster Dodd's bathroom in TM is one example, and there's also Hope's house in IV. The approach recalls the visual look of the drill-sergeant portions of
Full Metal Jacket, and perhaps some of
Eyes Wide Shut, which, despite its surreality, had many fine-grained, believably untidy visions of outdoor and indoor spaces. While Kubrick may have relied on sets more frequently, both directors infuse their spaces with a similar kind of credible shabbiness.
But those kind of white bare walls Kubrickian walls are very present in both The Master and Inherent Vice as well. Much more than TWBB.
It's not post-TWBB, but the white backgrounds show up in
Punch-Drunk Love, too. It's kind of there in the opening shot, but also in that scene when Barry gets the first threatening call from "Georgia."
