Source: The Village Voice
September 4, 2012 | By Scott Foundas
Paul Thomas Anderson, The Master's Master
Talking 70mm, Joaquin Phoenix, and researching Scientology for his sixth and most anticipated film
"I've made six movies, and I feel like I'm only just finally
figuring out how this business fucking works," Paul Thomas Anderson says
on an unseasonably mild August afternoon in the Astoria section of
Queens, where later tonight he will preview his latest film for an
invited audience at the Museum of the Moving Image. The movie is The Master, Anderson's first in the five years since the Oscar-winning There Will Be Blood,
and one of this year's most feverishly anticipated cinematic events—a
must-see status attributable to Anderson's vaunted standing among
serious film buffs, to the secretive nature of the production (at a time
when we know far too much about most movies before we see them), and,
mostly, to the film's subject matter: the early days of a self-help
religion that bears more than a passing resemblance to L. Ron Hubbard's
Church of Scientology.
