Background
Adam Sandler and the French New Wave are not often discussed in the same breath, but according to cinematographer Robert Elswit, they both figure in his new collaboration with director Paul Thomas Anderson. Elswit explains that Anderson's latest feature Punch-Drunk Love, which stars Sandler and Emily Watson, takes some of its visual cues from the early color films of nouvelle vague director Jean-Luc Godard. That is not to say that this new Anderson release attempts the heavily intellectual approach Godard was known for. Punch-Drunk Love, promises to be lighter and more straightforward than anything Godard, or even Anderson, has done in the past.
Elswit, who shot all three of Anderson's previous features, explains that the content of the film is more like an early Peter Sellers comedy centered on a main character that we love despite his extensive eccentricity. But the inspiration for the look, he adds, came from Godard's early color films, particularly A Woman is a Woman starring Jean Paul Belmondo, Jean-Claude Brialy, and Anna Karina.
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Sunday, April 20, 2003
Interview: Behind The Scenes With Robert Elswit
Background
Adam Sandler and the French New Wave are not often discussed in the same breath, but according to cinematographer Robert Elswit, they both figure in his new collaboration with director Paul Thomas Anderson. Elswit explains that Anderson's latest feature Punch-Drunk Love, which stars Sandler and Emily Watson, takes some of its visual cues from the early color films of nouvelle vague director Jean-Luc Godard. That is not to say that this new Anderson release attempts the heavily intellectual approach Godard was known for. Punch-Drunk Love, promises to be lighter and more straightforward than anything Godard, or even Anderson, has done in the past.
Elswit, who shot all three of Anderson's previous features, explains that the content of the film is more like an early Peter Sellers comedy centered on a main character that we love despite his extensive eccentricity. But the inspiration for the look, he adds, came from Godard's early color films, particularly A Woman is a Woman starring Jean Paul Belmondo, Jean-Claude Brialy, and Anna Karina.
Adam Sandler and the French New Wave are not often discussed in the same breath, but according to cinematographer Robert Elswit, they both figure in his new collaboration with director Paul Thomas Anderson. Elswit explains that Anderson's latest feature Punch-Drunk Love, which stars Sandler and Emily Watson, takes some of its visual cues from the early color films of nouvelle vague director Jean-Luc Godard. That is not to say that this new Anderson release attempts the heavily intellectual approach Godard was known for. Punch-Drunk Love, promises to be lighter and more straightforward than anything Godard, or even Anderson, has done in the past.
Elswit, who shot all three of Anderson's previous features, explains that the content of the film is more like an early Peter Sellers comedy centered on a main character that we love despite his extensive eccentricity. But the inspiration for the look, he adds, came from Godard's early color films, particularly A Woman is a Woman starring Jean Paul Belmondo, Jean-Claude Brialy, and Anna Karina.
Sunday, April 13, 2003
Interview: "I Wanted To Make Myself Scared"
Spiegel, Written By nina Rehfeld
April 13th, 2003
The exceptional American director Paul Thomas Anderson about his new film “Punch-Drunk Love,” his penchant for unorthodox casting, and the connection between love and violence.
Spiegel: Mr. Anderson, you obviously like to engage apocalyptic scenarios. In “Magnolia” there were raining frogs, and in your new film “Punch-Drunk Love” there is a type of catastrophic whirlpool, in which your lead actor Adam Sandler is the catalyst. Where do these ideas come from?
PTA: From this secret place, where all ideas come from. But the situation, where one is pulled into such a whirlpool, is very old: that is Buster Keaton: the little man in the middle, who has shit always flying around him. One of the proven methods to bring verve into a story is to have a little fun.
April 13th, 2003
The exceptional American director Paul Thomas Anderson about his new film “Punch-Drunk Love,” his penchant for unorthodox casting, and the connection between love and violence.
Spiegel: Mr. Anderson, you obviously like to engage apocalyptic scenarios. In “Magnolia” there were raining frogs, and in your new film “Punch-Drunk Love” there is a type of catastrophic whirlpool, in which your lead actor Adam Sandler is the catalyst. Where do these ideas come from?
PTA: From this secret place, where all ideas come from. But the situation, where one is pulled into such a whirlpool, is very old: that is Buster Keaton: the little man in the middle, who has shit always flying around him. One of the proven methods to bring verve into a story is to have a little fun.