The market for fan-made prints of movie posters has gone crazy over the past few years. MondoTees in Austin is carving out a nice little niche for themselves with this kind of thing, but there are plenty of great artists doing it on their own. One such artist is David O’Daniel, a San Francisco based designer making original posters for repertory fare at that city's famous Castro Theatre. Scrolling through his site brought up this print for "Boogie Nights". It appears that he has a limited number available for sale for each print but there doesn't seem to be any info for this one. In addition to 'Boogie' he's done great prints for the films of Stanley Kubrick, Charlie Chaplin and more. You may want to take a few minutes to browse through his site (especially if you have wallspace available). (via @MattGoldberg)
Showing posts with label boogie nights. Show all posts
Showing posts with label boogie nights. Show all posts
Thursday, February 24, 2011
‘Boogie Nights' Silkscreen
The market for fan-made prints of movie posters has gone crazy over the past few years. MondoTees in Austin is carving out a nice little niche for themselves with this kind of thing, but there are plenty of great artists doing it on their own. One such artist is David O’Daniel, a San Francisco based designer making original posters for repertory fare at that city's famous Castro Theatre. Scrolling through his site brought up this print for "Boogie Nights". It appears that he has a limited number available for sale for each print but there doesn't seem to be any info for this one. In addition to 'Boogie' he's done great prints for the films of Stanley Kubrick, Charlie Chaplin and more. You may want to take a few minutes to browse through his site (especially if you have wallspace available). (via @MattGoldberg)
Thursday, December 30, 2010
Thursday, December 16, 2010
Wahlberg Croons A Classic For The Critics
During an interview for The Fighter, Mark Wahlberg and Christian Bale fell victim to film critic Peter Traver's 'signature' request to sing something. Bale chooses the Powerpuff Girls theme, while Wahlberg decides to belt out a few notes of the Boogie Nights/Transformers/Dirk Diggler Story classic “You Got The Touch”. Click Here to watch the wonderfully awkward experience. (CE)
Sunday, August 15, 2010
Exclusive Interview: Michael "Jocco" Phillips
Michael "Jocco" Phillips is a name you have probably noticed in the credits of a large number of Paul's films as well as many successful television series over the years. Upon discovering he checked in on the site, I contacted him with ten questions to get a fresh perspective on everything from Bones to Ballchewer.
C&RV: Introductions: Name, Current Project & Occupation
M"J"P: Michael "Jocco" Phillips, First Assistant Director BONES
C&RV: For those who may not know exactly what this job entails, can you sum up your daily tasks/responsibilities.
M"J"P: My job divides into two phases, prep and shoot. During prep I am responsible for breaking down the script into it's individual elements (cast, locations, props, etc) and then scheduling the filming in the most efficient way possible. On the set I run the day-to-day operations and make sure all of the elements are available at the right time so the director can maximize his/her shooting day.
C&RV: You've worked on Boogie Nights, Magnolia and Punch-Drunk Love. How did you get yourself embedded into The Family?
M"J"P: John Wildermuth and Adam Druxman, the assistant directors I worked for on my first big movie in LA (THE FAN) were hired to do BOOGIE NIGHTS and called me to ask if I wanted to work on their next movie. I said "yes!" immediately and drove to the production office in Hollywood to pick up the script.
I read it when I got home and was terrified! What have I gotten myself into? I had only been in LA a few months from Texas and come from a rather conservative family. Pornos? "Joy Juice"? So after panicking for a few hours I read it again and was able to see beyond the salaciousness of the subject matter and realized this was an amazing script.
When I met Paul his passion and energy were so overwhelming and I knew we were in good hands. One of Paul's greatest attributes is his accessibility to the cast and crew. His love for actors is well known but I was a green Production Assistant and we could talk and joke around like I was an old friend.
Adam was hired to do both MAGNOLIA and PDL and so I was able to work on both of those films as well. It was a very special time in my life.
C&RV: What, if any, are some of the advantages to working on a production with Paul that you don't necessarily experience on other sets.M"J"P: Well, I partly answered this question in my previous one but Paul knew exactly what he wanted, especially on MAGNOLIA. We would be on the Tech Scout (where all the Department Heads travel to all of the locations) and he would walk into a room and say "24mm lens here... tracking across to here. Dolly track here." Four months later we are in that room to film and sure enough there was a 24mm lens here with dolly track there. It may not seem like a big deal but after 19 years in the industry you realize that that kind of vision and decisiveness is extremely rare. Another thing about Paul that I find unique is that everything is in the script. Shots, angles, ideas, his scripts are very visual.
C&RV: Best On/Off Set Story/Experience That Won't Get You In Trouble/Blacklisted, Go:M"J"P: BOOGIE NIGHTS - We are shooting 16mm footage for the Brock Landers movies during prep (before principle photography) and Paul decides he needs more "bad guys" for a fight sequence to be shot later in the day. Adam is going to call extras casting but I say "Hey! I could be a bad guy! We can shave my head, give me a moustache or something!" Adam tells Paul and he says "Great!"
Later that day, with a freshly-shorn cranium and big bushy 'stache I make cinematic history fighting with Mark and John C. smashing a bottle over my head (six times!) We develop a back story for my "character". He is a low-level thug that works for Ringo and his name is... Jocco. A nickname is born.MAGNOLIA - When we finished principle photography Paul was generous enough to hire me as a personal assistant during the post-production process. When he decided to include the Frank TJ Mackey Infomercial on the dvd he allowed me to film a "product shot" and record voice-over for an end-tag to the actual commercial you see in the film. As with my stunt work in BOOGIE NIGHTS, Paul required a level of amateurism that you just can't fake. I delivered that level of amateurism.Footnote: Paul sent MAGNOLIA to Harry Knowles' Butt-Numb-A-Thon with a video introduction to the film. I was PTA.
C&RV: Sandler, like PTA, is well known for repeating crews and cast. After Punch-Drunk, you had a solid string of work on Adam's films. I assume this stemmed from the two of you becoming friends during Paul's production?M"J"P: Absolutely. I spent a lot of time in Basecamp on PDL and got to know Adam and his crew very well. They are some of the friendliest, generous, down-to-earth and loyal people it has been my pleasure to meet. I got my first big DGA feature credit on Adam's film FIFTY FIRST DATES. They even named the walrus in the film after me. I didn't know whether to be flattered or insulted. (I was flattered)
C&RV: You were not involved with There Will Be Blood. Was that due to scheduling or you just weren't involved?M"J"P: A little of both. Paul had decided early on that he wanted to work with new assistant directors (Adam Somner, Spielberg's First Assistant). Once in production I was pleased to receive a call to come fill in for the second assistant director but unfortunately I was already in production of season two of PRISON BREAK.
C:RV& Speaking about graphic design briefly, you are co-responsible for one of my favorite cover designs ever: Fiona Apple's "When The Pawn..." What was the pitch/process/story etc -- have you done any design work for others as well?M"J"P: Again a case of being in the right place at the right time. When I was working for Paul on MAGNOLIA he and Fiona were together. She had this idea that she wanted for the album artwork.
I simply helped her with some photo & lyric layouts on the computer. It was great and pleasant surprise when the cd came out and she had included me in the liner notes. I was just a monkey at a keyboard. It is a testament to her kindness that my name is there and it is something I will always treasure.(C&RV Note: Michael also mentioned he was the author and cover designer of the 6 Music Videos By PTA DVD that we originally gave out on the site many years ago)
C&RV: You seem t have migrated primarily into series television. Has this format evolved into your preference over film work, or do you go where the most appealing meal is?M"J"P: I do enjoy the stability that comes from working on episodic television. I had a nice four-year run on PRISON BREAK and I'm just starting my second year on BONES. I was able to move up much faster in television than I would have been able to in features. That being said, I still have a great love for telling one story from start to finish. We'll see what the future holds.
C&RV: After initially scanning your IMDB profile and seeing "Black & White" I knew the plan would be to close with a question about Mike Tyson. Turns out you worked on a different "Black & White." Not one to give up on a plan: Do you have any thing to say about Mike Tyson?M"J"P: We were watching the Tyson-Holyfield fight at a friend's apartment on a television that was nearly as big as the room. I saw him bite that ear off in way-too graphic detail.I'm sure he's a lovely man.
C&RV: What is coming next for you sir? Continued work on Bones? Plans to venture into directing or is that not something that appeals to you?M"J"P: Had PRISON BREAK gone another season or two I definitely would have pursued a shot a directing an episode. I had a very intimate knowledge of the show creatively and from a production standpoint. My real desire is to eventually work as a creative producer. I want to find and develop good stories and assemble the creative team necessary to bring it to the audience. Show Business is one of the few industries in which you must take a pay cut to get a promotion but I will not rest until the sign on the hill says "JOCCOWOOD". ;)
I would like to publicly thank Michael for the interesting responses to my boring questions. You saved the day, sir. Michael also mentioned he was Assistant Director on all of Paul's music videos for Fiona Apple as well as "Couch" and "Ballchewer."
We may sort out a Part Two one day in the future as there aren't really any stories around about the production of the music videos. Oh, and I missed the last two Flashback Fridays. Sorry about that.
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Friday, July 30, 2010
Leonardo Dicaprio Biggest Regret: Boogie Nights
Today, ShowBizSpy reported what it says in our headline: Leonardo's biggest regret in his career to date was walking away from Boogie Nights. In their words:
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You have now read this fact 4 different times in an update containing 5 or 6 sentences total.Leonardo DiCaprio admits his “biggest regret” is turning down the chance to star in Boogie Nights.The Titanic star — who is currently riding high at the box office with summer blockbuster Inception — says he still can’t forget the one dream role that got away.“My biggest regret is Boogie Nights,” says Leo, who lost the role of porn star Dirk Diggler to close pal Mark Wahlberg. “I’m a huge fan of (director) Paul Thomas Anderson but the first time I met him for that role I hadn’t really seen much of his previous work. Now I love that movie."
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Friday, July 23, 2010
Flashback Friday: Exclusive Mark Rance Interview
Today we take you back to August 21st, 2000 when our site first posted an exclusive interview called "Reliving 'That Moment'" that focused on Mark Rance. My own interview title offering featured on the banner. On topic: Mark was the filmmaker responsible for creating the feature length documentary following Magnolia from pre-production to projection that can be found on the newly released Magnolia Blu-Ray disc.
Reliving "That Moment" with Mark RanceMark Rance & his company, 3 Legged Cat has been a pioneer in creating supplemental footage for special edition releases. Mark made a name for himself working for Criterion on their LaserDisc releases such as Silence of the Lambs, This is Spinal Tap, El Cid & Lord of the Flies from 1991 - 1995.
Mark then helped establish New Line with the ground breaking Platinum Series DVD’s. Mark was an integral part of many of the early releases including Spawn, Blade, Lost in Space, Nightmare on Elm Street Collection, Detroit Rock City, Austin Powers, Dark City, The Corrupter, Pleasantville & more.It’s Mark’s work with Paul Thomas Anderson that immediately comes to mind. He worked on the commentary tracks for both the Criterion LaserDisc of Boogie Nights & New Line’s first DVD Platinum Release.
He followed that up with his work on the Hard Eight Special Edition for Columbia/Tri Star before tackling his most ambitious DVD project to date. That Moment, A Magnolia Diary, is a 74 minute intimate look at the creative process following PTA’s latest film from conception to creation.
Not your typical promotional documentary or featurette, That Moment shows you the highs, lows & especially the hard work required to make a film. I spoke with Mark about his relationship with PTA, making “That Moment” & his future projects.
C&RV: When did you first meet PTA & get involved with the Boogie Nights releases on DVD & LaserDisc?MR: I had already been given the assignment to work on the Criterion LaserDisc of Boogie Nights, when we met really briefly at the Los Angeles Film Critics Award luncheon. I went over to an apartment where he was living. I got there early so I was in the building sitting on the steps across the door from the apartment & he comes up carrying groceries.
There's this young woman following him carrying groceries as well. "Hi I'm Paul, how are you doing?" I really didn't put two & two together until everybody sat down for the interview & I realized, "Oh, that's Fiona Apple." She sat there during the interview drawing pictures & listening. We did that in the living room of his apartment in January 1998.C&RV: How did the Hard Eight DVD come about. Did PTA seek you out?MR: Yeah. I was at a screening of one of my friend's films & we ran into each other. Paul says, "You gotta help with this thing". We began recording the tracks with Philip Baker Hall while he was still writing Magnolia. We probably did about six hours worth of recording. This is my tendency. I like these longer interviews & try to reduce them down to fit. Edit them to sound chatty without them being chatty.
There was a lot to talk about on this film. When it was edited down, we had one full track & a half hour worth of material for a second track. We dedicated the first track to PTA & Philip on his first film & making the thing. The second was dedicated to isolating the soundtrack cues & talking about Rysher. I wanted to make the ultimate commentary about first films, bad experience & successful experience.C&RV: Rumor has it that Columbia/TriStar was not happy with one of the commentary tracks that PTA did & his comments about Rysher. The word inflammatory comes to mind. Did anything have to be reedited for the release?MR: Yes. When the thing was submitted to Columbia, they reviewed it with their legal department & asked us to take out all the stuff referring to Rysher. Around that time, MGM had been sued by a writer who did not receive proper credit on a commentary track. The suit went through & the guy won.
That made some of the studios nervous about what people might say on these things. It's that whole issue when an opinion is libel. It took them months to decide this & Magnolia was in production. I came on the set & I was thinking exactly what Paul said. Let's go around & interview everybody that worked on Hard Eight.C&RV: Whose idea was it to isolate the score on the second commentary track?MR: I wanted to do that because I'm always fooling around with the format. I loved the score & sort of by accident put it up against the picture without any dialogue. I thought in that in a couple of cases, when you do that with a movie, it becomes a different movie in a good way. In addition, the soundtrack's not available, so it seemed like a good idea.C&RV: And include the alternate closing credits song [Aimee Mann's "I Should've Known"]?MR: Yeah, it was a surprise because he was singing that song during one of the commentary recordings to loosen up. I knew the song really well & thought these lyrics are kinda cool for this movie. I had it better in a rough cut, the timing was cooler.
They're was a better edit. It's off a few frames. The really interesting thing is that it's the exact running time of the original credit sequence. The great thing about working with Paul is that he lets you surprise him & I try to.C&RV: Tell me about recording his commentary tracks. I know you prefer to do extensive interviews & then edit them coherently to the film? Is that what you did with the Boogie Nights & Hard Eight?MR: There's a lot of stopping & starting. I'm a firm believer in not forcing people to watch the movies. It's the technique that a lot of studios have adopted because it's fucking cheap. But I also think it's the technique that's killing commentaries.
That's why a lot of people don't want to do them anymore. There's so much resistance at this point from people who have heard all the dumb ones. There's more of those than the smart ones, that the idea of being trapped, having to come up with something as fast as the movies are generally cut is criminal.
MR: In all of these cases & especially with Paul, I like just sitting & talking, seeing where he's at, trying to understand where he's coming from. Finding more if I can about the background to a particular movie, a particular scene, working with an actor, an idea in the film, films that he likes, what he admires in those films. Let those digressions take the conversation where it goes because often enough, it comes back.C&RV: It seems that PTA went from house to house doing segments with all the principal actors on Boogie Nights, were you involved with the recording?MR: Paul & Dylan Tichenor did the original actors & I helped with the new additions of Melora Walters & Luis Guzman. When I got it, I made separate tracks with each voice. We dropped in the new interviews where Paul's solo commentary used to be since it duplicates the other commentary track. The new material will hopefully make the "Is Luis Guzman High?" joke pay off.C&RV: Your condensed version of what happened to Exhausted?MR: Paul toyed with the idea of including WADD: The Life & Times of John C. Holmes but decided to stay with the Exhausted footage from the Criterion LaserDisc. It ultimately came down to money & the director of Exhausted & New Line couldn't agree on a price.C&RV: Moving to the Magnolia DVD, with PTA’s public comments about not wanting to do a commentary track for this film, did you explore other possibilities such as a cast & crew, actors, composer or film critic [Roger Ebert recorded one for New Line’s Dark City Platinum Edition]?MR: No commentary period. No analysis.C&RV: Did you guys explore other supplemental material such as the Charlie Rose Show, The "Cops" Footage or the Worm subplot?MR: We did talk about all that kind of stuff, but he really didn't want any more of the deleted scenes on the disc. He was very specific about that. Paul's vision here was a simplified DVD with the fewest buttons to push. After Paul saw the work done on New Line's Detroit Rock City DVD, he called me up & said, "OK, Mark we got to talk about this. What the fuck were you doing?"C&RV: I assume PTA chose the Magnolia 12 chapter stops as well?MR: Yes, I think the beauty of it is that it emphasizes, as Julianne Moore says, the operatic structure. It's in movement, it's in passages. It's not in scenes. These scenes interconnect. There's an association building up between the characters, the lives they lead & the meaning of those lives. Paul is dead on about this & he told me that you could probably do it with one button or chapter. It's probably coming. Someone's gonna do that again.C&RV: How did “That Moment” come to fruition?MR: It was Paul's idea. He told me that I would be the only one on the set & "do my thing." He had seen a documentary I made called "Mom". He told me to try & document everything. It was that simple. There was no other direction or list of things to get.C&RV: Tom Cruise, was noticeably absent from the film. Were there any limitations to your filming or access?MR: Cruise's people asked that he not be filmed. The only limitations were my availability as I was working on multiple projects for New Line.C&RV: It's surprising to see Tom Cruise in the outtakes then?MR: We thought since we didn't have him in the documentary & Tom liked those outtakes, thought they were hysterical, & that they would represent his participation. Paul & Tom had a great relationship, so it really wasn't a stretch to include them.C&RV: Was there every any tension on the set between you & the cast & crew?MR: The only time that happened was when one of the actors was ready to start work & didn't want to be distracted. He made a good point that when the second camera is there, his peripheral vision would catch that & he's not sure where to play. It throws him & I understood that. The way that I was taught to make films is that it's not the camera, it's you. It's your job as a filmmaker to be human, to be present, to be the person you are. You just happen to have a camera.
You do things to make them familiar with you holding the camera. In this way, you develop a more intimate relationship with everyone around you. Try to minimize the idea that they should feel like there's something different between you with the camera & without. That's just the whole style. Not to over analyze this, but interviews tend to separate you. The power switches from the star to the interviewer. In that imbalance, you get less.
Tomorrow we will have details for an interesting upcoming screening of There Will Be Blood.People are less willing to talk. They become guarded. If you show that you are not threatening them, then you get different kinds of footage. Like walking up to Bill Macy to ask him what he thinks about the script is sort of like walking up to Macy for the umpteenth time & asking him a stupid question. That's the way he talked to me all the time. If you needed a laugh, just go say something to Macy.C&RV: How much footage did you shoot?MR: 128 hours. I had two very good people logging the stuff. We started thinking about structure & because we didn't have a lot of time to edit. I kept shooting. We decided on the most linear structure. It could been much more of a mosaic or organized in a different manner. The diary thing just became the guiding rule because there was no time to play with it more than once. The first edit was eight hours. The second edit was four. Then it hovered around 2:20 - 3:00 hours for a couple of weeks. I showed the cut to Paul three times after it was less than three hours. Paul gave me notes three times & we finally ended up at 74 minutes.C&RV: Did you have complete freedom in what footage was ultimately included?MR: Yeah. Paul did give me suggestions on where to trim it. There was plenty to choose from & that is always a problem. Throwing away a lot of good stuff early was kind of painful, but it was the only way. If you hang on to something, then you would have to hang on to two other things to explain it. You want to try to avoid adding voice over & let it evolve from the camera's point of view.C&RV: Was the very funny exchange between Paul/Fiona spontaneous or scripted? How did it come to pass?MR: Spontaneous. I came upstairs & Paul said watch this. They did it again later in the evening at dinner. It wasn't quite as funny because she couldn't move around as much. They probably did some version of it at home. It was on the night it went into wide release (January 7th). We were about to get in a car & drive around to the various theaters & see the audience reaction.C&RV: The last shot shows PTA listening to Aimee Mann’s Red Vines & working. Was this actual footage shot during the editing process?MR: Paul was working on Fiona's Limp video. There was still this residue from the release of the film. Articles were lying around. There was just this feeling of exhaustion. I don't even know why I started shooting. I was just goofing around. I really love that song, too.C&RV: What are your thoughts now looking back on the Magnolia Diary?MR: The beauty of what Paul asked me to do...He's like the first person who really believed me as a filmmaker in ten years. I can't thank him enough. Making that thing for Magnolia was maybe the most challenging & the most fun thing I've had to do in all of this. As much as I like meeting all my cinema heroes & making these commentaries that is more meaningful to me. The fact that he liked it is even better.C&RV: What future DVD projects can we expect from 3 Legged Cat productions?MR: We're working on the Seven Platinum Series, Twin Peaks: Fire Walk with Me & a John Waters box set for New Line. A Crow box set & Red, White & Blue for Miramax. I really want to do more work on foreign films but the market still isn't there yet. The market is still heavy into the science fiction films because they are the big sellers.
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Friday, July 16, 2010
Flashback Friday: Exclusive Melora Walters Interview
For today's installment of Flashback Friday, we have a site exclusive interview with Melora Walters that was conducted in 2000 called "Minutes With Melora" because apparently alliterations are awesome.
Minutes with Melora
After numerous TV appearances in such shows as Roseanne, The Wonder Years & Seinfeld, Melora Walters appeared in supporting roles in the feature films Dead Poet's Society, Ed Wood, Cabin Boy & Eraser. But it's her roles in Paul Thomas Anderson's films that have propelled her into the spotlight. Each of her roles have continued to increase in PTA's films culminating with her starring role in Magnolia. I spoke to Melora about her relationship with Paul, bringing her characters to life & future film projects.
C&RV: How did you first meet PTA & get involved with Hard Eight?
MW: I auditioned for Paul. You know, one of those audition things? I guess Gwyneth Paltrow wasn't going to do the part of Clementine for a while due to a scheduling conflict, so I actually auditioned for that part. I read the script & thought this was the most wonderful script that I'd ever read. Then when I met him, I thought he was amazing.
Anyways, Gwyneth ended up doing it & in the middle of shooting there was this little part & they asked if I wanted to do it & I was like "Yeah!" I wanted to work with Samuel L. Jackson & I wanted to work with Paul & I wanted to be part of that story.
C&RV: So, did he mention the Boogie Nights script to you during or after filming Hard Eight?
MW: No. It came up a few days before he started shooting Boogie Nights. Paul said, I want you to read the script & look at the part of Jessie St. Vincent. I said they'll never let me play that part. Paul said, "Trust me." I told him that I didn't want to read it & fall in love with it & not be able to do it. That would kill me. He said, No. Trust me." Three days later, they were dying my hair that color!
C&RV: What kind of research did you do for your character in Boogie Nights? Were you involved in the infamous porno film visits?
MW: No. I did watch the "Exhausted" documentary & that was very important, but I didn't want it to be about the way porno is now. I felt Jessie St. Vincent was just so much of a misfit among these people. She was very genuine. She didn't take drugs. She was just an actress. She got married, had babies & she was an artist. That was what it was about.
C&RV: Did you have fun doing the commentary track with Paul on the new Boogie Nights DVD?
MW: It sounded kind of crazy with my children in the background. I drove Paul home afterwards & told him that I think we should do it again. He said, no, It was fine." I told him that we should do it again because I thought I was acting like Jessie St. Vincent & the kids were talking.
C&RV: How did you become involved with Michael Penn's "Try" music video?
MW: Paul just said, "Will you come down & be in this video?" I said sure. It was only one day of shooting & was a lot of fun.
C&RV: How flattered were you that after the success of Boogie Nights, Paul specifically wrote the part of Claudia, the center of Magnolia, for you?
MW: It was the most amazing gift in the world. I was completely flattered. It's an opportunity that you dream of.
C&RV: When you first read the Magnolia script & your part, were there any doubts that you could handle the emotional intensity of Claudia?
MW: Not really. I did get scared. I get scared every time I start something new. I told Paul that I will go in my darkest depths as long as he was there to save me if I start drowning. And he was always there.
C&RV: So, did you lean on him heavily for some of the more intense scenes? Did he provide you direction or just let you go?
MW: It guess it was a combination. He created her. It's all there. You just know this person. She's alive on the page. So, then you just follow what he's created & he kind of steers you. It was very intimate & very intense.
C&RV: What sort of research did you do for Claudia?
MW: I started with the script & Aimee Mann's music. I had some friends in New York who had really horrid childhoods. So, I've been around people who have been damaged. I suppose we all have been damaged in one way or another. I don't know how, but she just made sense to me.
C&RV: Was it hard to escape the character & not take it home with you?
MW: It's funny because when I think of it, it was very cathartic & I went home happy because all my demons came out during the day. But my husband did say later, when the film was finished, that he was glad I was done, because I was starting to bring it home. I didn't think I was, so that's kinda of telling right there.
C&RV: Tell me about singing Wise Up?
MW: That was the scariest part, because I can't sing. I was absolutely terrified. I listened to the music a lot. The whole movie set was such a safe, nurturing, intimate environment. That provided a great place where you were safe to do anything.
C&RV: How many times did you have to shoot the last scene?
MW: I can't remember how many, but we did it quite a few times.
C&RV: What's it like working with John C. Reilly?
MW: He's amazing. He's really funny. He's really sweet.
C&RV: How has Paul helped your personal development as an actor?
MW: Paul was the first one who saw how I can change into different characters & he's taken advantage of that. Because his films are so amazing, then people see that, & it's giving me wonderful opportunities.
C&RV: Why is it that virtually everyone that works with PTA devotes themselves to him for the rest of his life? What does he have that no one else does?
MW: I don't say genius lightly. I really think that's what he is. He really taps into something very deep when he creates these stories. Whenever somebody can do that, the people around cannot help but be touched by it. You feel it & then you're just committed to it, because it's rare. It's like Mozart. If you listen to his music, it touches something in you. Paul's films touch something very primal within you & how can you resist that?
C&RV: Paul is so vocal about his respect for actors in general and for specific actors (you included). Does this respect ever lead to expectations that you have found difficult to live up to?
MW: I try not to think of those things. I try to simply focus on the part I'm playing completely & make that person as true & real as I can. I can't worry about the rest or I would go crazy. Paul is always communicating with me & making constant adjustments when necessary. I would do anything for him.
C&RV: Were you disappointed over the lack of recognition you received for Claudia?
MW: No. I just think that the only thing you can do is just try to do really good work. The rest is all gravy. I was disappointed that Paul didn't win because I think in the whole film business, he is one very unique voice. I mean he doesn't make big special effects movies. Although the frogs were a special effect. [Laughs] That made me really mad that he didn't win.
C&RV: Let's talk about your upcoming films. Tell me about Desert Saints with Kiefer Sutherland?
MW: I play an undercover cop. It was really fun. I haven't seen a final cut yet. Kiefer is a bad guy & you get the sense he can kill you at a moment's notice. And you think, don't go with him, but I turn out to be worse than him! So I thought this is gonna be fun!
C&RV: What about Speaking of Sex with James Spader, Jay Mohr & Bill Murray?
MW: I finished that in July & it was so much fun. It's a big comedy farce about marriage, sex, marriage counselors, therapists & divorce lawyers. I'm married to Jay Mohr & he has a problem. In the process of trying to save my marriage, I end up sleeping with my therapist & then all hell breaks loose.
C&RV: Tell me about Rain, which is being executive produced by Martin Scorsese?
MW: I'm getting ready to do that now. It takes place in a very small town with deep, dark secrets. I will be filming this in Iowa.
C&RV: What do you think about Paul working with Adam Sandler?
MW: I think it's great. We talked about me being involved, but I don't think I'm supposed to say anything about it yet. It's top secret! [Laughs] It should be really interesting & fun.
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Thursday, July 01, 2010
Boogie Nights Opening Steadicam Map
While we wait for The Playlist to tell everyone what's happening next with The Master, I thought I would highlight this illustration from Empire Magazine which gives a mini graphical play-by-play of the nearly 3 minute continuous shot that opens Boogie Nights.
Thursday, June 24, 2010
Deborah Ann Woll Confirms Talks With Paul Thomas Anderson
Deborah Ann Woll recently spoke to Movieline and addressed the mumblings surrounding her involvement in The Master. She had this to say:
Despite only playing a supporting role in the popular increasingly campy HBO series "True Blood," Deborah Ann Woll looks to have caught the eye of Hollywood with the actress now confirming talks between her and Paul Thomas Anderson about his upcoming untitled religious drama.Woll was originally reported to be one of three actress along side Amanda Seyfried and Emma Stone being eyed for the role of Elizabeth, the daughter to the lead character to be played by Philip Seymour Hoffman, with the interest now evidently leading to early discussions of some sort."There’s nothing official," Woll told Movieline. " [But] I will say that I have talked with him, and he’s very nice. I don’t think we or he is anywhere near making a decision — I think he’s still working on the script, so he’s got that job to do. There’s really nothing official there, it’s just some interest that he and I both have."The actress is certainly capable of holding her own shining amongst the talented likes of Anna Paquin, Stephen Moyer and Alexander Skarsgard in "True Blood." She'd be a great fit, we think, along side Hoffman and Jeremy Renner, who is attached to play his troubled protege Freddie Sutton.However, as Woll affirms, speculation should probably be set aside for now as it's only early days in the project's development with PTA evidently still tinkering on the script, which is not a surprise considering the draft that leaked earlier this year was incomplete, featuring lots of placeholders that needed to be filled in. A June start was briefly and erroneously mentioned but with Hoffman's imminent schedule seemingly clearing up (and a directorial stint at Cate Blanchett's Sydney Theater Company due to begin in October) and Renner having passed on the August shooting "Battleship" for it, a late summer start is probably not out of the question for the River Road production just yet.
Jonah Hill was interviewed over at Rotten Tomatoes to promote Get Him To The Greek and countless other movies he is co-starring in and was asked to give his Top 5 Favorite Films. Boogie Nights came in at #4: "Paul Thomas Anderson, it was difficult to not have all 5 of my favorite movies be yours" (thanks Cory)
Saturday, June 19, 2010
June 19, 1998-June 19, 2010
12 years ago today the first ever post went up on this website. It simply read:
Paul Makes EW's It ListAge 27 Why him? After the porno-poetic thrill of Boogie Nights, which this San Fernando Valley wunderkind wrote and directed, actors are clamoring to work with him as they did for Altman. Like the trailblazing '70s auteurs, Anderson gives his films emotional texture that comes from the gut: "The scenes that truly affect people are the ones based in personal shit."Work habits "I write early, like 6 a.m., and I can only really write for three hours," he says. "That's because I smoke myself into a sickness. The best stuff comes in the first blast ... the idea behind writing very early is that your subconscious is still kicking ass. You're not paying attention to what you should be writing."Creative crutch "The biggest thing for me when I'm writing is the music. Now it's Aimee Mann and Michael Penn." And filmmakers? "Blake Edwards ... 10 is a fucking masterpiece."Weirdest career moment "Burt Reynolds."Next? Another L.A. story: "It centers around an odd occurrence in nature."
As you may or may not know, this website was originally called Cigarettes and Coffee when it started in 1999. (Remember this?) It was run and maintained by Greg Mariotti and myself. In 2005, Greg moved onto working with Cameron Crowe on his official website and I took over and re-branded it Cigarettes & Red Vines, after the Aimee Mann song which is, in part, apparently about Paul.
I thought it would be interesting to keep the previous sites posts archived on the new site as there are endless amounts of additional information and random things hidden within each. I have tried to tag them all as accurately as possible for ease of reference.
Monday, October 01, 2007
Deleted Scene: Boogie Nights, Back to Work
A scene with Reed, Becky & Buck after everyone has left Maurice's for the night.
OVER BLACK: The following sequences are DIALOGUE TRACKS ONLY.
There are NO OTHER SOUND ELEMENTS until noted.
JACK'S VOICE
...alright, let's get ready here --
let's do this -- we're rolling in
two minutes --
CUT TO:
INT. JACK'S HOUSE - HALLWAY - THAT MOMENT
CAMERA follows Jack down the hall. He opens a door and looks
inside; Dirk is standing there. Jack steps in and closes
the door behind him.
CUT TO:
INT. ROOM - THAT MOMENT
Dirk looks healthier and cleaned up. They speak softly;
JACK
How are 'ya?
DIRK
I feel great.
JACK
You feel good, ready?
DIRK
Ready. Yeah. I do.
JACK
I'm not gonna do this fuck scene if
you don't feel ready. If you don't
feel comfortable or ready -- you
tell me - I'll call it off.
DIRK
Jack. I wanna do this. I wanna do
this good --
JACK
-- 'cause I'll call it off if you
don't.
DIRK
Jack:
JACK
Yeah?
DIRK
My cock will get hard. I promise
you. I promise.
JACK
If you say you're ready, then I
believe you.
DIRK
I'm healthy now. I'm strong. I've
been away....I don't ever want to go
away again. I want this. I feel
like I might break 13 inches.
JACK
If we get in there and you don't
feel right -- you tell me and I'll
call it -- we'll just wait until --
DIRK
Okay.
JACK
Good. Good. You feel ready, you
feel good?
DIRK
Jack....I'm rock and roll.
CUT TO:
INT. JACK'S MASTER BEDROOM - MOMENTS LATER
The Cast and Crew is waiting silently. Kurt Longjohn and
Rocky next to the video equipment, Scotty J. is working the
lights.
Rollergirl is on the bed in a bikini. Amber is standing
with Reed off in a corner. Maurice comes over and joins
them.
MAURICE
What's up?
AMBER
They're about to start.
Dirk and Jack enter the master bedroom. Jack moves to his
seat behind the camera. Dirk paces over near the bed and
says a few words to Rollergirl.
IN SLOW MOTION. Dirk looks at Jack. Jack looks at Dirk.
They both nod in agreement. Jack speaks quietly;
JACK
Okay, everyone..let's do
this....Rollergirl: You ready?
ROLLERGIRL
Is my first line --?
JACK
You say, "Jesus Christ, it's true."
ROLLERGIRL
Yes. Yes. I'm ready.
JACK
Dirk, take a step back and you'll
enter the frame without the underwear.
In SLOW MOTION XCU, DIRK REMOVES HIS UNDERWEAR. Rollergirl
gets set on the bed -- Kurt and Rocky ROLL THE VIDEO CAMERA.
KURT LONGJOHN
We're rolling.
CAMERA DOLLIES IN ON JACK.
JACK
....and....Action, Dirk.
ANGLE, VIDEO CAMERA POV, THAT MOMENT
The SCENE BEGINS. Dirk enters FRAME, stands at the edge of
the bed and looks down at Rollergirl. She looks at his cock
and says;
ROLLERGIRL
Jesus Christ, it's true.
DIRK
Hey....
ROLLERGIRL
What?
DIRK
My dick is so soft right now. You
want to see it get hard?
ROLLERGIRL
Jesus. Yes.
DIRK
Suck it?
ROLLERGIRL
Excuse me?
DIRK
I said: Suck My Dick, Lovely.
ROLLERGIRL
With pleasure.
CAMERA DOES A SLOW DOLLY IN ON DIRK AND ROLLERGIRL IN PROFILE.
SHE DISAPPEARS BELOW FRAME...DOLLY IN ON JACK...DOLLY IN ON
KURT'S VIDEO CAMERA...DOLLY IN ON SCOTTY J., AMBER, MAURICE,
REED.
ONLY SOFT BREATHING CAN BE HEARD;
CAMERA CONTINUES INTO A CLOSE-UP ON DIRK, THEN STOPS. HOLD.
Dirk looks down at Rollergirl and smiles.
SOUND UP. MUSIC CUE FULL BLAST.
CAMERA DOES A QUICK BOOM UP FROM DIRK...JACK...SCOTTY/AMBER...
AND FINALLY, A SLOW BOOM UP FROM KURT'S VIDEO CAMERA. HOLD
EMPTY FRAME.
OVER EMPTY FRAME, THE SOFT VOICE:
JESSIE ST. VINCENT
Buck....Bucky...?
Deleted Scene: Boogie Nights, Going Home
Dirk visits his parents house & finds Sheryl Lynn. The Sheryl Lynn dialogue/exchange
here is much different than the version in PTA's final shooting script.
INT. DIRK'S CORVETTE - MOVING - NIGHT
HOLD CU. ON DIRK. He's driving fast. Paranoid and freaked.
CUT TO:
INT. STREET/OUTSIDE LOS ANGELES - DAWN (LATER)
Dirk's car is out of gas. He pushes the car off the main
boulevard and down a side street.
CUT TO:
EXT. SIDE STREET - THAT MOMENT
Dirk pushes his car down a small cul-de-sac, hops in and
pulls the emergency brake.
He looks around a moment. HOLD. CAMERA DOLLIES IN CLOSE ON
HIS FACE. He looks at the street signs.
OVERHEAD ANGLE, INTERSECTION, THAT MOMENT
Dirk walks to the middle of the intersection and looks up at
the sign posts.
ANGLE, STREET POST.
It reads, "Troost Street."
ANGLE, DIRK
He recognizes this.
He walks down the Troost Street, looking at the houses.
CAMERA FOLLOWS BEHIND HIM. He walks a full two blocks down,
stops.
ANGLE, DIRK'S PARENTS HOUSE. It looks just the same. The
SUN IS ABOUT TO COME UP.
A PAPERBOY rides past and throws the paper, hitting Dirk in
the head. He hesitates, then walks up the steps;
CAMERA MOVES IN SLOWLY ON THE DOOR, LANDS IN A CU. OVER HIS
SHOULDER. He knocks. Moments later...the door opens;
A young woman in a bathrobe with a BABY on her hip opens the
door. This is SHERYL LYNN, who we met earlier.
SHERYL LYNN
Yes?
DIRK
....hello.
SHERYL LYNN
Can I help you?
BEAT.
SHERYL LYNN
Eddie...? Eddie.
Dirk hesitates a moment, then recognizes Sheryl Lynn.
DIRK
...what are you doing here? Where's
my mother?
SHERYL LYNN
Eddie, I haven't, no one has heard
of you...where did you go?
DIRK
...I'm looking for my mother...I'm
looking for my father and mother.
SHERYL LYNN
Eddie, honey...my God...you just...
DIRK
What are you in this house? I don't
want to see you, I want my mother.
SHERYL LYNN
I live here, now. With my husband.
DIRK
Where's my mom?
SHERYL LYNN
You should come in --
BEAT. HOLD CU. ON DIRK.
DIRK
No....no. Jesus Christ, I know what
you're gonna say --
SHERYL LYNN
Eddie, I can tell you what happened,
just let me tell you inside here --
DIRK
Just tell me. Just tell me.
SHERYL LYNN
They passed...last December --
The baby starts to cry. Dirk doesn't move;
DIRK
...how...?
SHERYL LYNN
Eddie, come inside right now, please.
DIRK
YOU TELL ME, LADY.
SHERYL LYNN
There was no way to find you, to get
in touch with you. To tell you all
these things --
DIRK
TELL ME RIGHT NOW, YOU.
SHERYL LYNN
Eddie, it was at night and it was
raining and there was a man and he
was speeding and he was drunk and
they didn't --
FLASH ON:
EXT. INTERSECTION - NIGHT
It's raining. A little Station Wagon enters the intersection
with the right of way but is IMMEDIATELY AND POWERFULLY
CRUNCHED by a SPEEDING MALIBU that barrels into the
intersection.
The STATION WAGON is THROWN fifty yards away. A HORN blows...
CAMERA DOES A SLOW DOLLY IN TOWARDS THE STATION WAGON. Dirk's
mother and father are SOAKED IN BLOOD.
CAMERA DOES A SLOW DOLLY IN TOWARDS THE SPEEDING MALIBU.
Half in/half through the windshield of this car is JOHNNY
DOE.
QUICK FADE OUT, CUT TO:
EXT. DIRK'S HOUSE/TORRANCE - THAT MOMENT
Back to the scene. HOLD ON DIRK.
SHERYL LYNN
It was just some drunk kid, Eddie.
DIRK
-- Why do you live here?
SHERYL LYNN
My husband and I bought this house.
DIRK
Why? Why did you do that?
SHERYL LYNN
Eddie, please --
DIRK
This is my house. THIS IS MY HOUSE.
What the fuck? What the fuck are
you doing here? I don't want to see
you, I need to see my mother. I
want my mother.
Dirk breaks down, crying and screaming. Sheryl Lynn helps
him up.
CUT TO:
INT. SHERYL LYNN'S HOUSE - MOMENTS LATER
CAMERA HOLDS IN THE KITCHEN. Sheryl Lynn makes breakfast
with the baby on her hip. Her HUSBAND sits nearby in his
bathrobe, watching the situation and keeping quiet.
Dirk is on the phone in the living room. WE HEAR ONLY MUFFLED
BITS FROM HIS CONVERSATION.
DIRK
(into phone)
....Scotty. It's
Dirk...yeah...yeah...
(beat)
Lemme talk to him...Reed...yeah.
yeah.
(beat)
are you sure....? Yeah, okay...in a
little...
Dirk hangs up, looks at Sheryl Lynn and her husband.
CUT TO:
EXT. SHERYL LYNN'S HOUSE - MOMENTS LATER - MORNING
Sheryl Lynn gives Dirk a hug good-bye. The Husband backs
his station wagon out of the garage and Dirk gets in.
CUT TO:
EXT. TORRANCE GAS STATION - MOMENTS LATER
The Husband hands Dirk some money -- Dirk hands some money
to the Gas Station Attendant -- Dirk pumps some Gas into a
Fuel Can -- Dirk gets back into the station wagon --
CUT TO:
Deleted Scene: Boogie Nights, Rahad's Last Stand
INT. RAHAD JACKSON'S HOUSE - THAT MOMENT
Rahad storms around his house, the SHOTGUN in his hand. The
two battered young women are shaking and shivering in a corner
of the room.
RAHAD
What the fuck...what the fuck...what
the fuck.
Rahad rants and raves incoherently, sets down the shotgun
for a moment to take a hit from his crack pipe. HOLD, THEN:
ANGLE, A WALL IN THE HOUSE
A red flash hits the wall.....then a blue flash hits the
wall.
ANGLE, RAHAD
He looks at the wall and sees the red-blue flash. He turns
and looks out his window.
ANGLE, THE WINDOW
A whole collage of red/white/blue flashing lights. Sounds
of POLICE ACTION outside....
CAMERA DOLLIES IN ON RAHAD. He smiles.
RAHAD
It's coming down, coming down.
Rahad moves to the window and pulls aside the curtains.
POLICE SOUNDS, BULLHORN CALLS, FOLLOWED BY THE WHIRL OF A
POLICE HELICOPTER AND SPOTLIGHT.
...RAHAD PICKS UP THE SHOTGUN, SMASHES THE WINDOW AND FIRES
OFF A SHOT AT THE POLICE OUTSIDE...
...POLICE FIRE BACK ABOUT ONE MILLION BULLETS THAT RIP INTO
RAHAD, SENDING HIM BACK, STUMBLING ACROSS THE HOUSE, FURTHER
AND FURTHER....BULLETS RIP INTO THE TWO GIRLS, KILLING THEM.
OVERHEAD ANGLE, LOOKING DOWN ONTO:
Rahad's dead body fall's next to Todd's dead body. Next to
them on the floor are the two paper bags full of baking soda
and cash.
QUICK FADE OUT, CUT TO:
Deleted Scene: Boogie Nights, Becky & Mr. Brown
A nice elderly man befriends Becky after Dirk fails to show up.
INT. BAKERSFIELD DENNY'S - NIGHT (LATER)
Becky is sitting at the counter. A few seats over from her
is an OLDER MAN (late 60s). He dressed in an old grey suit
and tie.
OLDER MAN
Are you alright, ma'am?
BECKY
What?
OLDER MAN
Are you going to be alright? You
seem....you've been sitting there.
A while now. And I want to know if
you're going to be alright.
BECKY
Yes.
HOLD. Becky looks down.
OLDER MAN
Do you want to order something? A
bowl of soup?
BECKY
My friend was supposed to come here
and get me, but he hasn't come.
OLDER MAN
Yes. Well why don't you let me buy
you some soup while you wait for
your friend?
BECKY
No. No. I'm not hungry.
OLDER MAN
You seem hurt and lost. I'm an old
man so I see this, and, knowing that
I don't have much time left to live
on this earth, it hurts my heart to
see people in pain -- more than it
did when I was young, because then I
didn't care. I was a cold young
man, But now, in age, I have a desire
to help -- because I'd like to think
that I've done good things in my
life.
BECKY
Why?
OLDER MAN
To be good. To do good deeds. Maybe;
Well. To make up for things that I
have done in the past. Maybe I've
done things that weren't good...so
now I try to do the opposite. Do
you see?
BECKY
Yes.
The Older Man reaches into his pockets, takes out a quarter
and places it on the counter in front of Becky.
OLDER MAN
Why don't you try calling your friend?
(beat)
You should call your friend, to see
where he is and when he'll be here
for you.
BECKY
I don't think he cares. I think he
might have lied to me.
OLDER MAN
Maybe not. Maybe something happened
that was beyond his control.
BECKY
Maybe.
OLDER MAN
Use the quarter, young lady.
BECKY
Thank you.
Becky takes the quarter and walks to the pay phone.
INT. DIRK'S APARTMENT - THAT MOMENT
Dirk is sitting in the kitchen, smoking his coke pipe.
The PHONE RINGS. CAMERA DOLLIES IN ON DIRK. He watches the
phone ring and ring and ring. Finally, it stops.
Dirk stands up, walks to the front window in the apartment.
He pushes the curtains to the side, and looks out. HOLD.
He puts his ear to the window, then closes the curtains and
walks back to the kitchen area.
CUT TO:
INT. DENNY'S - MOMENTS LATER
Becky is sitting in a booth across from the Older Man. She's
crying.
BECKY
I don't know where to go. I don't
have anywhere to go, I can't get
anywhere.
OLDER MAN
It's alright. It's alright, young
lady.
BECKY
I'm so sorry to make you hear this.
OLDER MAN
I want to help you.
BECKY
No, I can't.
OLDER MAN
You need help. You need someplace
to sleep and to wash. You can't
stay here. I want to help you.
BECKY
You're a nice man.
OLDER MAN
Listen to me a moment, please.
Please. Look up at me; I'm trying
to do things. Like I told you before.
Let me help you.
He stands and holds a hand out to her. She reaches for his
hand.
EXT. BAKERSFIELD RETIREMENT HOME - NIGHT
Becky and the Older Man walk a path up to a small retirement
home on a small, suburban street.
CUT TO:
INT. RETIREMENT HOME - THAT MOMENT
They enter, make a beeline for some stairs. A NURSE spots
them;
NURSE
Mr. Brown...Mr. Brown you can't
bring visitors in here.. Mr. Brown.
Becky and Mr. Brown walk past the Nurse and up the stairs.
CUT TO:
INT. MR BROWN'S ROOM - LATER
Mr. Brown sets Becky up in a chair near a window. He brings
her a blanket and tucks her in like a child, then climbs
into his own bed.
BECKY
Thank you.
MR. BROWN
You'd do the same for me.
CAMERA DOES A SLOW DOLLY IN ON MR. BROWN as he falls asleep.
Deleted Scene: Boogie Nights, A Terrible Thing to Waste...
A lengthy scene where Floyd Gondolli talks with Dirk on the beach.
EXT. MALIBU BEACH - MORNING
CAMERA holds on Dirk, who's curled into a fetal position,
sleeping in the sand. He's very thin and very sick looking
now. His hair is long and in his face.
VOICE (OC)
...Dirk....
Dirk comes to, looks up into the eyes of FLOYD GONDOLLI. He
wears a jogging suit and sunglasses.
FLOYD
Floyd Gondolli.
DIRK
Yeah...hey...
FLOYD
Watcha doin' out here?
DIRK
....just...um...sleeping...?
FLOYD
Mind if I pull up a chair?
DIRK
No...I don't mind.
Floyd sits in the sand next to Dirk.
FLOYD
I haven't seen you around in a while,
I haven't seen you working.
DIRK
I've been doing some other
projects...did I sleep here?
FLOYD
I dunno...did you?
DIRK
How did I get here?
FLOYD
I don't know. You been partying it
up?
DIRK
Um...no....yeah...there was a party.
Last night. That house over there.
...I guess...I remember I was with
someone?
FLOYD
I dunno. I live right down the beach
here, you wanna come in, get cleaned
up...some breakfast, something?
DIRK
Um...no...it's alright....
Dirk pats his pockets.
DIRK (CONT'D)
I've still got the keys to my
Corvette.
FLOYD
Are you and Jack still split?
DIRK
Jack...Jack...Jack who? I don't
know anyone named Jack.
FLOYD
Jack Horner.
DIRK
I never met him in my life. That's
over.
FLOYD
I heard you had some trouble.
DIRK
Creative things.
FLOYD
Right.
DIRK
Do you have a cigarette?
FLOYD
Sure.
Floyd and Dirk smoke a cig together.
FLOYD (CONT'D)
I heard you were doing a movie.
DIRK
Didn't work out, really -- Creative
things and ideas.
FLOYD
Did they go with someone else?
DIRK
Yeah....
FLOYD
Who?
DIRK
Stoney Jackson. Fuckin' loser.
FLOYD
If you don't mind my saying, Dirk: A
cock like yours is a terrible thing
to waste. The industry could use a
little Dirk Diggler injection. Maybe
you'd be up for coming back --
DIRK
I dunno.
FLOYD
The video market on your films is a
continuous seller.
DIRK
Yeah, well...I'm not seeing that
cash.
FLOYD
Jack holds the rights?
DIRK
...uh-huh...
FLOYD
Do you have an agent?
DIRK
I don't need an agent.
FLOYD
What happened with that record you
were doing? I heard it, I thought
it was great.
DIRK
...yeah...well...I dunno.
FLOYD
If you ever think about coming back
to work, I got a whole situation set
up, maybe you'd be up for it --
DIRK
I don't know, I'm tryin' to look
forward.
FLOYD
Right.
DIRK
Have you got anything to eat?
FLOYD
Yeah.
DIRK
If you got some food, I'll come over.
FLOYD
Come on, I'm just down the beach
here at this house...
They stand and walk off.
Deleted Scene: Boogie Nights, It's Really Small... #2
INT. HOT TRAXX NIGHTCLUB - NIGHT
CAMERA DOLLIES IN ON MAURICE. The club is closed and empty.
Maurice sits at the bar, writing a letter. An envelope and
a videotape are placed nearby.
MAURICE (V.O.)
Dear brothers: Here's an example of
me with women in Los Angeles. I
sleep with women here all the time...
DISSOLVE TO:
INT. APARTMENT BLDG./PUERTO RICO - DAY
Maurice's two BROTHERS rip open the envelope, read the letter
and slip the tape into their VCR that's wired to a crappy
black and white television. CAMERA DOLLIES IN ON THE
BROTHERS.
BROTHER #1
(in Spanish, sub-titled)
Oh my God --
BROTHER #2
(in Spanish, sub-titled)
-- it's so small!
Deleted Scene: Boogie Nights, It's Really Small...
INT. BEDROOM - THAT MOMENT
Maurice is sitting on the edge of the bed, shaking and
sweating. Rollergirl enters and moves to a closet.
MAURICE
Hey...Rollergirl...hey.
ROLLERGIRL
What's wrong?
MAURICE
Where?
ROLLERGIRL
With you?
MAURICE
Me? - Nothing - Why?
ROLLERGIRL
You look like a wreck.
MAURICE
Shit no, I'm cool as a cucumber.
ROLLERGIRL
Okay.
Rollergirl takes off her clothes and gets into her BIKINI.
MAURICE
Rollergirl?
ROLLERGIRL
What?
MAURICE
My dick is really small.
ROLLERGIRL
What?
MAURICE
My dick...it's small.
ROLLERGIRL
How small?
MAURICE
Really small.
ROLLERGIRL
Well...uh...so?
MAURICE
So I can't do this.
ROLLERGIRL
Can you get a boner?
MAURICE
I don't think so.
ROLLERGIRL
Well...
MAURICE
Please. Can you help me?
ROLLERGIRL
How?
MAURICE
I dunno.
ROLLERGIRL
If you've got a small dick, there's
really nothing I can do, Maurice.
MAURICE
....right....right....
ROLLERGIRL
Just go for it, man.
MAURICE
What do you mean?
ROLLERGIRL
Just go for it...who cares if you've
got a small dick. It's how you use
it, right? You can get a boner, I
bet. I know you can.
MAURICE
I guess.
ROLLERGIRL
Be a man about it.
MAURICE
Right. Right. I have to be a man
about it. I have to do this...I
have to show my brothers in Puerto
Rico the lifestyle that I'm living.
I can do it...I can do it.
ROLLERGIRL
You'll do fine.
MAURICE
Right.
ROLLERGIRL
C'mon.
MAURICE
No...no...I wanna stay here for a
bit --
ROLLERGIRL
Okay....I'll be out there.
She exits. HOLD with Maurice a moment.
Deleted Scene: Boogie Nights, Bill & His Wife #2
More with Little Bill & His Wife on the way to the Adult Film Awards.
INT. LITTLE BILL'S STATION WAGON - MOVING - DAY
Little Bill is driving. His Wife is in the passenger seat.
Becky and Rollergirl are in the back. Little Bill's Wife
looks at Little Bill, then looks away. BEAT. Little Bill
looks at his wife.
LITTLE BILL'S WIFE
...what...?
LITTLE BILL
Please. On this trip...don't
embarrass me.
She doesn't say anything. Suddenly, she SMACKS him in the
face.
LITTLE BILL'S WIFE
Fuck you.
Little Bill holds his eye. Becky and Rollergirl stay quiet.
Deleted Scene: Boogie Nights, Young Stud
More with Little Bill, His Wife, the Limo Drive & Young Stud at Jack's party.
EXT. DRIVEWAY/JACK'S HOUSE - NIGHT (LATER)
The party is coming to a close and people are trying to get
in their cars and get out of the driveway.
CAMERA hangs with Little Bill and his Wife.
LITTLE BILL
Thanks for fucking up this party for
me. I appreciate it.
WIFE
Oh Fuck Off. Will You?
LITTLE BILL
You Fuck Off.
WIFE
Yeah, right.
CAMERA MOVES TO FIND: THE YOUNG STUD AND THE LIMO DRIVER.
They're sitting by the limo. The Young Stud is crying.
LIMO DRIVER
Hey, hey, hey. I mean: How were you
supposed to know?
YOUNG STUD
I wasn't.
LIMO DRIVER
That's right. So what did you do
wrong?
YOUNG STUD
Nothing?
LIMO DRIVER
Nothing is absolutely right, Young
Stud.
YOUNG STUD
Thank you for your help.
LIMO DRIVER
No problem.
The Colonel and Jack approach. The Colonel now has another
young Lady Friend, picked up from the party.
COLONEL
You ready, Johnny?
LIMO DRIVER
Yes, sir.
COLONEL
How you doin' pal?
YOUNG STUD
I'm okay, sir.
COLONEL
Don't worry about it. She'll be
fine.
YOUNG STUD
She died in the limo on the way to
the hospital.
COLONEL
I didn't hear that.
YOUNG STUD
What?
COLONEL
You never told me that and what
happened, never happened. You get
me?
YOUNG STUD
I get you.
COLONEL
Now go home. Sleep it off.
The Young Stud exits.
JACK
Thanks for coming, Colonel.
COLONEL
Great party, Jack.
The Colonel and the new Lady Friend get in the car.
Deleted Scene: Boogie Nights, Jack & Colonel
A scene that would have come directly before the Colonel meets Eddie.
INT. JACK'S OFFICE - THAT MOMENT
Jack and the Colonel are sitting, drinks in their hand. The
Colonel smokes a cigar.
JACK
The idea is this: Amber is a director
of porno films and she's down on her
luck. She hasn't had a hit in a
year. She's desperate. Her landlord
is threatening to kick her out, so
she's desperate for a big dick hit,
right?
COLONEL
Yes. Good dilemma.
JACK
Yes. So she calls up all the agencies
in town and says: "Send over your
best actors, I'm casting a porno
picture." Well the story goes and
develops with Amber auditioning
various men and women...the whole
thing wraps up with the Landlord,
I'd like to get Jeremy if he's still
in town to play the part -- he comes
in -- the landlord says" You better
pay rent or you're through. Well:
Amber does one helluva suck job, ass
fuck-come in the face-sort of thing
and fade out - the end.
COLONEL
That's great.
JACK
There's a kid, a young man, I met
him last night: His name is Eddie
Adams. He's here, he's at the party.
He's something special and I want to
cast him.
COLONEL
What films has he done?
JACK
This would be his first.
Little Bill pokes his head into the office, sees the
conversation and quickly apologizes and exits. The Colonel
looks to Jack;
COLONEL
Casting is up to you, you wanna do
it, Jack? Then do it. This sounds
fine to me. Hell, I'm easy to please,
right? If it has big tits, tight
pussy and focus: I'm happy.
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