Entertainment Weekly, Written By Chris Willman
?? ?? 1997
Twenty-seven-year old director Paul Thomas Anderson didn't grow up to the superhits of the 70's, but he's built a monument to them with his Boogie Nights Soundtrack.
Having handpicked 40-odd songs for the soundtrack to his pornland epic Boogie Nights, filmmaker Paul Thomas Anderson got nearly everything on his period-pop wish list. Only one songwriter asked to see the film before giving permission to use his tune: ELO-meister Jeff Lynne, whose "Livin' Thing" provides an It's alive! punchline to the scene where smut star Dirk Diggler (Mark Wahlberg) finally comes to terms with his...gift. "Jeff said, 'I have two young daughters, and I have a problem with sex and violence in movies. Should I see this?' So I screened it for him," chuckles Anderson. At the climax, rather than fleeing, Lynne leapt up, fists raised, as ELO kicked in post-prosthesis. "He said, 'I don't like sex and violence in movies, but this is the most brilliant f---in' movie ever!'"
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Wednesday, September 10, 1997
Interview: "Boogie Might"
Toronto's Eye Magazine, Written By Alex Patterson
September ??, 1997
Director Paul Thomas Anderson gets down and dirty
Minutes before I'm due to call the director of the nostalgic comedy-drama Boogie Nights, a gaggle of Jesus freaks start some kind of revival meeting right outside my apartment. They are unbelievably noisy -- these folks may be doing God's work, but they're doing it with Satan's amps -- so I yell at them, "Lower the volume, damn it, I've got to talk with a guy who just made a movie about the porno business in the '70s!"
That guy's name is Paul Thomas Anderson, he's 26, and Boogie Nights is only his second feature. His noir-ish debut, Hard Eight, earned critical respect but sank without a trace earlier this year. But Boogie Nights won't be so easily ignored. Not only is it drenched with good old S-E-X, it features a star-making performance by Mark Wahlberg (the artist formerly known as Marky Mark) as a kid who makes it big by... well, making it big.
September ??, 1997
Director Paul Thomas Anderson gets down and dirty
Minutes before I'm due to call the director of the nostalgic comedy-drama Boogie Nights, a gaggle of Jesus freaks start some kind of revival meeting right outside my apartment. They are unbelievably noisy -- these folks may be doing God's work, but they're doing it with Satan's amps -- so I yell at them, "Lower the volume, damn it, I've got to talk with a guy who just made a movie about the porno business in the '70s!"
That guy's name is Paul Thomas Anderson, he's 26, and Boogie Nights is only his second feature. His noir-ish debut, Hard Eight, earned critical respect but sank without a trace earlier this year. But Boogie Nights won't be so easily ignored. Not only is it drenched with good old S-E-X, it features a star-making performance by Mark Wahlberg (the artist formerly known as Marky Mark) as a kid who makes it big by... well, making it big.
Tuesday, September 09, 1997
Interview: "Splay Misty For Me"
Details Magazine Interview With Paul Thomas Anderson
September ?? 1997
The Director of this year’s most controversial movie, Boogie Nights, gets his money shot.
Studio City, California, 1979. Late at night, in the darkened family room of a ranch home, a sandy-haired nine-year-old stands in front of the TV, his drop-jawed face illuminated by the flickering images. Gripped by arousal and fear, he keeps an eye on the door and a finger on the stop button of the VCR, which unspools The Opening of Misty Beethoven, a tape he has just discovered in his father’s porn stash. In such moments are obsessions born.
Eighteen years later, Paul Thomas Anderson is in a dim Cuban restaurant in Los Angeles, recalling that moment. Unshaven and wearing a rumpled blue oxford, Anderson looks more like a residential adviser in a freshman dorm than a guy who has just finished directing one of the year’s most anticipated – and controversial films.
September ?? 1997
The Director of this year’s most controversial movie, Boogie Nights, gets his money shot.
Studio City, California, 1979. Late at night, in the darkened family room of a ranch home, a sandy-haired nine-year-old stands in front of the TV, his drop-jawed face illuminated by the flickering images. Gripped by arousal and fear, he keeps an eye on the door and a finger on the stop button of the VCR, which unspools The Opening of Misty Beethoven, a tape he has just discovered in his father’s porn stash. In such moments are obsessions born.
Eighteen years later, Paul Thomas Anderson is in a dim Cuban restaurant in Los Angeles, recalling that moment. Unshaven and wearing a rumpled blue oxford, Anderson looks more like a residential adviser in a freshman dorm than a guy who has just finished directing one of the year’s most anticipated – and controversial films.