Chicago Tribune, Written By Mark Caro
October 25th, 2002
Paul Thomas Anderson likes to stick actual phone numbers into his movies instead of those phony "555" ones, and if you called the ones mentioned in Magnolia, you heard phone messages related to the movie.
So when Adam Sandler's character recites his phone number in Punch-Drunk Love, you can imagine all of the Anderson cultists taking out their pens.
If you call the number, you hear a male voice saying, "Hi, this is Paul. Please leave a message."
Is that Anderson?
"No, it's not," the filmmaker said. "It's a funny story, actually. That's a phone number that we bought for Magnolia. You're supposed to just kind of own it forever, and it turned out New Line (which released Magnolia) gave up paying this really small bill per month. So I called the number just to check and see if they still had it, and it was some guy named Paul. So I guess he might get a lot of phone calls."
The number, in fact, is the same one that the Philip Seymour Hoffman character dials in Magnolia. A message for "Paul" from this reporter went unreturned.
"I think that Columbia contacted him," Anderson said. "My producer called to try and figure a situation out, so I don't know what the latest is on it."
Friday, October 25, 2002
Saturday, October 19, 2002
Interview: "Director Punch-Drunk With Joy"
Seattle PI, Written By Paula Nechak
October 19th, 2002
Paul Thomas Anderson has only made four feature films but he's one of our most original, insightful and invigorating filmmakers.
"Hard Eight," "Boogie Nights," "Magnolia" and now "Punch-Drunk Love" have earned Anderson two Oscar nominations for original screenplay, a spate of awards from film festivals worldwide and the coveted best director's prize at this year's Cannes Film Festival (for "Punch-Drunk Love").
No wonder he's so darn cheerful when I meet him in the lounge of Seattle's Four Seasons Olympic Hotel. Anderson is rumpled and casual, easy to talk to, self-deprecating, unpretentious -- and he smokes like a chimney.
October 19th, 2002
Paul Thomas Anderson has only made four feature films but he's one of our most original, insightful and invigorating filmmakers.
"Hard Eight," "Boogie Nights," "Magnolia" and now "Punch-Drunk Love" have earned Anderson two Oscar nominations for original screenplay, a spate of awards from film festivals worldwide and the coveted best director's prize at this year's Cannes Film Festival (for "Punch-Drunk Love").
No wonder he's so darn cheerful when I meet him in the lounge of Seattle's Four Seasons Olympic Hotel. Anderson is rumpled and casual, easy to talk to, self-deprecating, unpretentious -- and he smokes like a chimney.
Wednesday, October 16, 2002
Interview: "Paul Thomas Anderson Casts Wider Net With Punch-Drunk Love"
Chicago Tribune, Written By Mark Caro
October 16th, 2002
Here's a theory that doesn't particularly apply to "Punch-Drunk Love" director Paul Thomas Anderson, but since we're talking about a filmmaker who approaches everything from odd angles, you'll just have to roll with it:
When rockers such as Talking Heads, R.E.M. and Elvis Costello started out, they occupied their own strange planets, and their fans gravitated toward them to get a handle on Heads front man David Byrne's jittery alienation, R.E.M. singer Michael Stipe's mumbled lyrics or Costello's venom.
But as these performers grew in popularity, they became more aware of their impact on audiences and began to tailor their works accordingly, choreographing their stage moves (particularly Talking Heads and R.E.M.) and making their material more accessible. They were meeting their audiences halfway, sometimes with better artistic results than others.
The 32-year-old Anderson established a loyal cult following with his first three highly personal films, "Hard Eight" (1997), "Boogie Nights" (1997) and "Magnolia" (1999), the last being a three-hours-plus mosaic of troubled father-child relationships that supporters found mesmerizing (this writer included) and detractors deemed interminable. After "Magnolia," Anderson told interviewers that his job is to "communicate" and that he'd love to connect with a broad audience a la Steven Spielberg.
Then he made "Punch-Drunk Love," a 90-minute romantic comedy starring Adam Sandler, the childish, highly marketable star of such popular low-brow comedies as "The Waterboy" and "Big Daddy."
October 16th, 2002
Here's a theory that doesn't particularly apply to "Punch-Drunk Love" director Paul Thomas Anderson, but since we're talking about a filmmaker who approaches everything from odd angles, you'll just have to roll with it:
When rockers such as Talking Heads, R.E.M. and Elvis Costello started out, they occupied their own strange planets, and their fans gravitated toward them to get a handle on Heads front man David Byrne's jittery alienation, R.E.M. singer Michael Stipe's mumbled lyrics or Costello's venom.
But as these performers grew in popularity, they became more aware of their impact on audiences and began to tailor their works accordingly, choreographing their stage moves (particularly Talking Heads and R.E.M.) and making their material more accessible. They were meeting their audiences halfway, sometimes with better artistic results than others.
The 32-year-old Anderson established a loyal cult following with his first three highly personal films, "Hard Eight" (1997), "Boogie Nights" (1997) and "Magnolia" (1999), the last being a three-hours-plus mosaic of troubled father-child relationships that supporters found mesmerizing (this writer included) and detractors deemed interminable. After "Magnolia," Anderson told interviewers that his job is to "communicate" and that he'd love to connect with a broad audience a la Steven Spielberg.
Then he made "Punch-Drunk Love," a 90-minute romantic comedy starring Adam Sandler, the childish, highly marketable star of such popular low-brow comedies as "The Waterboy" and "Big Daddy."
Monday, October 14, 2002
Interview: "Out There"
Boston Globe, Written By Wesley Morris
October 14th, 2002
Paul Thomas Anderson scales back his scope with 'Punch-Drunk Love' but remains committed to stretching your mind.
Paul Thomas Anderson is tall. He might be lanky, too. Today, he's kind of shaggy and fidgety but totally affable - if a little out of sorts. Somehow, he's managed to irritate his tailbone. This is a self-diagnosis: ''I must have sat on it weird."
Were he paler, he'd qualify for gaunt - like a self-styled hipster fronting a band whose records sell in the thousands and inspires talk of being the next great you-name-it.
But Anderson doesn't make garage rock. He makes movies, which is where he does his styling.
October 14th, 2002
Paul Thomas Anderson scales back his scope with 'Punch-Drunk Love' but remains committed to stretching your mind.
Paul Thomas Anderson is tall. He might be lanky, too. Today, he's kind of shaggy and fidgety but totally affable - if a little out of sorts. Somehow, he's managed to irritate his tailbone. This is a self-diagnosis: ''I must have sat on it weird."
Were he paler, he'd qualify for gaunt - like a self-styled hipster fronting a band whose records sell in the thousands and inspires talk of being the next great you-name-it.
But Anderson doesn't make garage rock. He makes movies, which is where he does his styling.
Sunday, October 13, 2002
Interview: "Love At First Sight"
Chicago Sun Times, Written By Roger Ebert
October 13th, 2002
So there I am at the Toronto Film Festival, eyeing Adam Sandler across the room. He knows and I know that I have never given him a good review. That time we met backstage at Letterman, he was very decent, considering. He said he hoped that someday he would make something I liked. Now he has.
The movie is "Punch-Drunk Love," by Paul Thomas Anderson. The moment it was announced, I got a lot of e-mails from people asking what in the hell Anderson was thinking of, making an Adam Sandler movie. Such is the power of Sandler's presence that it didn't occur to them it might be a Paul Thomas Anderson movie. Now I have seen it, and can report that it is both: an Adam Sandler movie by Paul Thomas Anderson. Imagine a Tom Green movie by Martin Scorsese. No, that's easier.
October 13th, 2002
So there I am at the Toronto Film Festival, eyeing Adam Sandler across the room. He knows and I know that I have never given him a good review. That time we met backstage at Letterman, he was very decent, considering. He said he hoped that someday he would make something I liked. Now he has.
The movie is "Punch-Drunk Love," by Paul Thomas Anderson. The moment it was announced, I got a lot of e-mails from people asking what in the hell Anderson was thinking of, making an Adam Sandler movie. Such is the power of Sandler's presence that it didn't occur to them it might be a Paul Thomas Anderson movie. Now I have seen it, and can report that it is both: an Adam Sandler movie by Paul Thomas Anderson. Imagine a Tom Green movie by Martin Scorsese. No, that's easier.
Saturday, October 12, 2002
Interview: "Director Now Punch-Drunk Over Comedy"
Seattle Times, Written By Moira MacDonald
October 13th, 2002
Paul Thomas Anderson, Oscar-nominated writer-director of "Boogie Nights" and "Magnolia," has developed a trademark style over the past few years, crafting ensemble dramas about lost, confused souls seeking connection and community. And now he's made an Adam Sandler comedy.
Say what?
"It was a really conscious decision to do something else," says Anderson, 32, in town last month for a sneak preview of "Punch-Drunk Love." He was in a happy frame of mind and decided to try something new. "I felt good. It's all where you land."
October 13th, 2002
Paul Thomas Anderson, Oscar-nominated writer-director of "Boogie Nights" and "Magnolia," has developed a trademark style over the past few years, crafting ensemble dramas about lost, confused souls seeking connection and community. And now he's made an Adam Sandler comedy.
Say what?
"It was a really conscious decision to do something else," says Anderson, 32, in town last month for a sneak preview of "Punch-Drunk Love." He was in a happy frame of mind and decided to try something new. "I felt good. It's all where you land."
Interview: Charlie Rose Show Transcript
Charlie Rose Transcript, Written By Jeffrey Zablotny
October 12th, 2002
CHARLIE ROSE: Paul Thomas Anderson is the Oscar nominated behind the critically acclaimed films Boogie Nights and Magnolia, his latest film is Punch-Drunk Love. He’s earned the Best Director award at this year’s Cannes Film Festival, and Sandler stars in what critics call his best performance of his career. I am pleased to welcome AS and PTA to talk about that movie and many other things. We were just saying this is the...third, fourth?
PTA: Third time here.
CR: Where did the idea for this come from?
October 12th, 2002
CHARLIE ROSE: Paul Thomas Anderson is the Oscar nominated behind the critically acclaimed films Boogie Nights and Magnolia, his latest film is Punch-Drunk Love. He’s earned the Best Director award at this year’s Cannes Film Festival, and Sandler stars in what critics call his best performance of his career. I am pleased to welcome AS and PTA to talk about that movie and many other things. We were just saying this is the...third, fourth?
PTA: Third time here.
CR: Where did the idea for this come from?
Friday, October 11, 2002
Interview: "Punch In The Dark"
The Star, Written By Peter Howell
October 11th, 2002
Punch-Drunk Love director tones down past pretensions
It's a frantic afternoon during the Toronto International Film Festival, and filmmaker Paul Thomas Anderson seems to be doing his best impression of Frodo Baggins, the hungry and hairy hobbit from The Lord Of The Rings.
Curled up on a club chair in a darkened corner of a Windsor Arms Hotel bar, he's barefoot, unshaven and plowing through a huge plate of French fries, scarfing them by the fistful. The 32-year-old Californian looks as if he's barely survived a mythic quest of some sort — which, when you're talking about the birth of a Paul Thomas Anderson movie, isn't far from the truth.
"You want some of these?" he says, proffering the platter of fries. The snack is declined, but wine makes a more enticing offer. Soon glasses are clinking in toast to Punch-Drunk Love, the off-kilter romance starring Adam Sandler and Emily Watson that shows how weird obsessions, extortion and death threats can lead to love.
October 11th, 2002
Punch-Drunk Love director tones down past pretensions
It's a frantic afternoon during the Toronto International Film Festival, and filmmaker Paul Thomas Anderson seems to be doing his best impression of Frodo Baggins, the hungry and hairy hobbit from The Lord Of The Rings.
Curled up on a club chair in a darkened corner of a Windsor Arms Hotel bar, he's barefoot, unshaven and plowing through a huge plate of French fries, scarfing them by the fistful. The 32-year-old Californian looks as if he's barely survived a mythic quest of some sort — which, when you're talking about the birth of a Paul Thomas Anderson movie, isn't far from the truth.
"You want some of these?" he says, proffering the platter of fries. The snack is declined, but wine makes a more enticing offer. Soon glasses are clinking in toast to Punch-Drunk Love, the off-kilter romance starring Adam Sandler and Emily Watson that shows how weird obsessions, extortion and death threats can lead to love.
Tuesday, October 08, 2002
Interview: "Pleased As Punch"
Toronto Sun, Written By Bruce Kirkland
October 8th, 2002
Director of Punch-Drunk Love Delights in Dark Side of 'Goofy' Sandler
Maverick Hollywood filmmaker Paul Thomas Anderson sips a fine white wine and gobbles down a plate of greasy french fries smothered in ketchup. He swears like a sailor on shore leave and is as sweet and good-natured as Bambi.
We're sitting in a back room of the bar at the swank Toronto hotel The Windsor Arms and Anderson, with his tousled hair and vaguely sleepy look, is dressed casually in battered jeans and a rumpled white shirt.
Looks are deceiving. This is the genius who, in the past seven years, has made some of America's most daring, innovative, intellectually risky and visually dynamic films: Hard Eight, Boogie Nights, Magnolia and now Punch-Drunk Love. The new film opens Friday in limited release after appearing to much acclaim (but some minor nay-saying) at the Toronto film festival. Punch-Drunk Love is dark and brooding, at odds with its supposed positioning as a romantic comedy. It is prickly and eccentric. It is provocative and hypnotic. It is everything that cinephiles admire and Hollywood marketing teams hate: A film which cannot be neatly packaged, labelled and sold as a product tie-in with burgers and candy.
October 8th, 2002
Director of Punch-Drunk Love Delights in Dark Side of 'Goofy' Sandler
Maverick Hollywood filmmaker Paul Thomas Anderson sips a fine white wine and gobbles down a plate of greasy french fries smothered in ketchup. He swears like a sailor on shore leave and is as sweet and good-natured as Bambi.
We're sitting in a back room of the bar at the swank Toronto hotel The Windsor Arms and Anderson, with his tousled hair and vaguely sleepy look, is dressed casually in battered jeans and a rumpled white shirt.
Looks are deceiving. This is the genius who, in the past seven years, has made some of America's most daring, innovative, intellectually risky and visually dynamic films: Hard Eight, Boogie Nights, Magnolia and now Punch-Drunk Love. The new film opens Friday in limited release after appearing to much acclaim (but some minor nay-saying) at the Toronto film festival. Punch-Drunk Love is dark and brooding, at odds with its supposed positioning as a romantic comedy. It is prickly and eccentric. It is provocative and hypnotic. It is everything that cinephiles admire and Hollywood marketing teams hate: A film which cannot be neatly packaged, labelled and sold as a product tie-in with burgers and candy.
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