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Paul Thomas Anderson from the perspective of his movie stars; Tolstoy of the time!

BingMag.com <b>Paul</b> <b>Thomas</b> <b>Anderson</b> <b>from</b> the <b>perspective</b> of <b>his</b> <b>movie</b> <b>stars;</b> <b>Tolstoy</b> of the time!

Paul Thomas Anderson, director of "There Will Be Blood" and "Magnolia" with "Licorice Pizza" ( Licorice Pizza is back, and Julianne Moore, Leslie Manville, Martin Short, and some of her closest associates are talking in interviews about why and how Anderson's fans and followers continue to grow.

Ben Affleck Orson Welles has likened. Quentin Tarantino called him a "friendly rival." Sam Mendes describes him as a "real director." But for those who know him better, Paul Thomas Anderson is a true and deeply sympathetic friend who happens to have made some of the best films of the last 25 years. He is now back with "Sweet Pizza," his first film in four years, starring Alana Heim, Cooper Hoffman (son of the late Philip Seymour) and Bradley Cooper.

  • 9 films Paul Thomas Anderson from Worst to Best

"Licorice Pizza" is more vibrant, fluid, and humorous than many of Anderson's previous films, and tells a story full of youthful love and concern for his place in the world. Narrates. It's basically a Paul Thomas Anderson film, but it offers a world away from Shakespeare's tragedy "Blood Will Rise" or the glamorous "Boogie Nights" mania.

"Blood Will Rise", "The Master" and "Phantom Thread" as an obsession - like many of his main characters - are not difficult. Anderson's films are often meditations on the state of American stress. In "Blood Will Rise," 19th-century oil explorer Daniel Plainview (played by Daniel DeLouis) is a selfish man who is driven by extreme greed and greed for extreme love and hate through the pursuit of money and power. In "Master," set in the aftermath of World War II, the United States is torn apart by the wounds embodied by a mad veteran played by Wakin Phoenix.

It takes place in the last days of the twentieth century, showing a disintegrated society and isolated and depressed people. But unlike many directors, Anderson does not seem to be under the burden of his art. Anderson still seems to have the spirit of a young boy with a sense of humor, who appears regularly in interviews, and many of his old colleagues say the same is true of the filming scene. Working relationships with Anderson often turn into long-term friendships. At a party in Los Angeles, he met a 25-year-old man at the time: "He came up to me and said it was a screenplay and I had to read it. He was extraordinary, energetic and lively. "I read the script and had no doubt about playing in his film." Paltrow (and the young John C. Riley, as well as Anderson's longtime co-star Philip Baker Hall) saw a small number, thanks to the producers who re-edited and renamed the film. However, "Hard Win" was later acclaimed after Anderson submitted his original version to the 1996 Cannes Film Festival. Moore says the actors signed on to "Revel Nights" just because of the screenplay he finished in 1995. There was ample evidence of his writer's tremendous talent.

Moore says of Anderson: "With Paul, I never felt like I was in the hands of an expert, and I always had that feeling when I worked with him. It was obvious that he was a great talent, even at 26 years old. "It was very clear in the script how great the Nights of Revelry were, and he eventually brought everything he had written to the film." The inside and outside of a 70's disco are intertwined. The young director was faced with a major task with complex scenes, large, relatively inexperienced actors, and a difficult working relationship with Brett Reynolds.

While Moore recalls the scene as a major "riot." He enjoys filming Anderson with great interest and enjoys working closely with Reynolds. "Burt came from another time, he was the biggest movie star in the world in the '70s, and here he was in this independent film," he says. Reynolds admitted in his autobiography that he had not seen or wanted to do the film, even though it was the best game of his career, and that it earned him a Golden Globe and accolades he had not received in decades. Although Reynolds and Anderson clashed on stage, Moore's how the director works with the stars of "Deliverance" and "Smokey and Admires Smokey and the Bandit. Brett was a big star with a lot of ideas about how he wanted to do things, and what was remarkable about Paul was that he gave Brett the space to do the things he needed to do. "I remember one night Burt insisted on filming in a certain way and it took a long time, and it wasn't a way Paul used to use it specifically, but he knew it would be better to let him do it," he said. Do the work.

Anderson has always been an acting director. This is what made him work twice with Daniel DeLouis and Joaquin Phoenix, both of whom are very selective in their projects. He co-starred with the late Philip Seymour Hoffman for 20 years. He describes the title as "intense love for human beings" and adds that "he is with you emotionally at every stage. "He is always supportive, never critical." Anderson's camera sits on the actors's face, reminiscent of the filmmaker he is most interested in: Jonathan Demi, the late director of The Silence of the Lambs.

Anderson Emotions, every failure and destruction and the totality of human sorrow often depict all in one frame. Consider the way she uses Wakeen Phoenix in "Master," while the actor's face and body are like a cat lying down. Anderson's songs are so impressive that a close-up of Phoenix can tell the full story of love, loss and the impossible quest for happiness.

BingMag.com <b>Paul</b> <b>Thomas</b> <b>Anderson</b> <b>from</b> the <b>perspective</b> of <b>his</b> <b>movie</b> <b>stars;</b> <b>Tolstoy</b> of the time!

Brett Reynolds and Julianne Moore in Kevin J. O'Connor's "Nights of Revel"

He has starred in "Blood Will Rise," and has also worked with Francis Ford Coppola, Robert Altman and Steve McQueen, who says Anderson directs by giving space to the actors as well as commendable attention to detail. He recalls a scene during the filming of "Blood Will Rise" in which DeLouis sat at a desk and Anderson filmed it in various ways but did not get what he wanted.

In the end, O'Connor He says Anderson went to the table and threw a glass of beer on the table to spill the rest, and that was what made him happy filming the sequence. Comparing Anderson with a painter, O'Connor says Phoenix told him on the set of "The Master" that "this is how it's supposed to be done."

This is the view shared by Leslie Manville with Anderson He has worked on "Imaginary Thread", it has been repeated. "What I like about the way he works is that he really lets you do whatever you have," he says. "When he sees you doing this, he gets excited, and that's great." Manuel, a lifelong colleague of director Mike Lee and one of Britain's most acclaimed TV presenters, was amazed at what he found in Anderson. , Deloitte obsessive sister, give acting test. Instead, Anderson called him one morning at 11 a.m. and they talked about the movie and the characters. He agreed to deliver the script to Express because he did not trust the email!

The director chose O'Connor in a similar way to "Blood Will Rise." Emphasizing that Anderson does not act "according to Hollywood rules," the actor, best known for his roles in "Widows," "The Mummy" and "Lord of Illusions," Henry was chosen as the "brother" of DeLouis's character.

When working with Anderson, surprise is a recurring theme. Legendary comedian Martin Short described Anderson's directing as "dark and sad" before he was cast as Rudy Blatnoid's strange dentist in "Inherent Vice", but later saw him as "loving and lively" and passionate. He admired her.

  • 10 thrilling films that Paul Thomas Anderson recommends Be sure to watch

Manville also describes his Oscar experience with Anderson: This was my first Oscar, so it was new to me. I was there with my son, Paul with Maya Rudolph (Anderson's colleague and lifelong friend) and Johnny Greenwood [composer] with his wife. We were starving! And then we were invited to a party. I did not know how, I asked him and he said it was like Oscar but with more medals, so he brought us down and we all sat there and ate omelets and drank cocktails because none of us were great at opening up conversations. Anderson has not been acclaimed throughout his career, now in his fourth decade, and has been shunned by awards and statues so far - although he looks set to shine this season. But what does an award mean for an artist like Anderson? Katherine Waterstone, best known for her portrayal of a woman in "Intrinsic Evil," says it best: But when it comes to Paul, the innumerable praises and uproar are not enough for him. You should give him an Oscar, but I think he deserves a Pulitzer Prize. He is not John Houston of his generation. He is Tolstoy!

Source: independent

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