Posts tagged with "Paul Thomas Anderson."
"We broke the film down into five sequences, and D was where everything spirals out of control after Dirk has been fired. It was sort of notorious - in shooting it, matching didn’t matter, so everybody could get freed up: ‘It’s sequence D, it’s a fucking free for all, cocaine madness.’ So the camera moves to reflect that. That sequence in Goodfellas where Ray Liotta is running around, everybody responded to it. I got this sick to my stomach feeling.
I was working as a messenger in LA at the time and I would do coke all day long and run around. I swear Goodfellas accurately portrayed what that feels like. There’s one shot in that Boogie Nights sequence that I really feel good about, when Heather Graham snorts a line of coke and the focus shifts from the mirror to the coke to her and it’s blurry for half a second; it’s a very quick shot, then it whips over to Julianne Moore and then Heather brings her head up. That’s the one shot where I can go, yeah, that’s what it was like to my eye. If you’ve ever leaned down to do a line, it’s a really odd moment where you feel gross about what you’re doing but you’re in this panic and frenzy. You’re so close to something your eye is trying to adjust. It’s this weird, blurry feeling."
Paul Thomas Anderson on Boogie Nights and cocaine.
John C. Reilly: When he blanks and goes postal here, it was kind of like that was really happening to Mark. It was like day six of the shoot, we were all like fully melting down, and he was just way beyond it. He could not take another second more of this environment that we were in. He was just like—gone. I’m really freaking out, like “whose line is it, Mark aren’t you supposed to say something, uh, uh—” yeah. And he did that all the time!
Paul Thomas Anderson: I only really planned out half of “Jessie’s Girl” because the sequence was supposed to be half as long, because I hadn’t planned on this shot of Mark where he just kind of blanks out. That was just something that happened. We planned the whole fuckin’ sequence out to music but I only planned it out to half of “Jessie’s Girl.” I didn’t care about the second half because I knew we’d be out of the house by that point. But it turns out when we kept playing “Jessie’s Girl” over this shot that it got to this wonderful bridge in the song for the whole shootout thing. I don’t know if I explained that well, but it was just a massive fucking serendipity. I’m pretty good at planning the shots out, but not this fucking good.
- Boogie Nights director’s commentary
Paul Thomas Anderson and Jonny Greenwood scoring Inherent Vice.
"The one thing I remember thinking initially when I was trying to make films, you always feel like—you got nervous that somebody else was right who was talking to you. Who was in a position of power, that their opinion somehow was right or better than yours. I could never stop to think that “No, it’s just different. You just think differently than I do and that’s okay. But I’m not wrong.” You can be filled with such fear. And it’s really easy to just get your heart broken and kind of beaten. You’re sort of attempting to make films… It’s a miracle any time one of them gets made. It’s a miracle. It’s a miracle every time a scene gets done. It’s never any less of a miracle or any less difficult… There just should be no fear. Just don’t give a fuck. That’s kinda the best thing to do."
What was your first Sundance experience?
"I think you’re way past having to defend any of your movies. Whatever you do for us, for me, for my generation, who grew up with you, you were always The Man. There was you, and then there was some other people. We always felt like, I always felt like, how the fuck does he do it? How does he get the camera to move like that? As you can see there are people, left and right, trying to imitate you, trying to rip-off how you do it. None of us can get it right. There’s a certain vocabulary that a few of us are armed with that get to make movies that directly comes from Marty and he will talk about the films he gets it from but you can never really recognize—you can recognize sort of what he’s talking about but he’s done moves and things, an attack on telling the story that is unique and was brand new when he started doing it, all the way along he’s been doing it, but he’s been developing it over the years — you see the culmination of it every time he makes a movie and seeing it tonight in this movie — we look at him and he is The Governor."
How do I respond to criticism? Critically. I listen to all criticism critically.
"I was doing a show one night, and I went back in the kitchen and was hanging out, and Paul Thomas Anderson was there. We were just talking, and he was like, “I’m doing this movie if you want a part in it.” I said, “Yeah, sure.” So they called me the next day and said I needed to come in to be fitted for a wetsuit. I said, “Can I see the screenplay first?” And they were like, “Nope.” So I went in and got this custom wetsuit made, and they gave me two pages of the script and flew me to Reno. We shot this scene and then hung out all night drinking. And a week later, we were shooting and I was in the wetsuit. It was so hot to the point where I wasn’t even sweating anymore. And Paul was dumping bottles of water on my head to keep me from passing out and I was like, “Paul, what are we doing?” He said, “I can’t say right now, but I’ll just say that you are the first frog that falls out of the sky.” And I went, “Okay.” So that’s what working with PTA is like."
Patton Oswalt on Magnolia (via wedgex