Paul - Y2K and beyond!Paul listed was listed as one of the 20 talents we'll still be talking in the Year 2020."This auteur's skill with the quill - his control of interlaced story lines, his creation of complex characters, and his attraction to society's underbelly - aligns him more with Martin Scorsese, Robert Altman, and even Billy Wilder than with the would-be Tarantino crowd.
Tuesday, February 23, 1999
February 1999
Archived update from Cigarettes & Coffee, run by Greg Mariotti & CJ Wallis from 1999-2005
Friday, February 12, 1999
Interview: Roger Ebert Q&A
Roger Ebert's Movie Yearbook
1999
Chicago, October 1997 - Paul Thomas Anderson has made one of the best films of 1997, and at age twenty-seven is getting the kind of attention no young director has had since Quentin Tarantino erupted. His Boogie Nights, which follows a cast of colorful characters through six eventful years in the adult film industry, is the year's best-reviewed film - a hit at the Toronto and New York Film Festivals.
Although the film's subject matter is touchy, Boogie Nights is not a sex film; porno supplies the backdrop to a traditionally structured Hollywood story about an unknown kid (Mark Wahlberg) who is discovered by a director (Burt Reynolds), encouraged by an older actress (Julianne Moore), and becomes a star - until his ego and drugs bring everything crashing down.
Apart from anything else, the film is about filmmaking. It captures the familial atmosphere of a film set as well as any film since Truffaut's Day for Night. The focus is not on sex but on loneliness and desperation, leavened with a lot of humor, some of it dark, some of it lighthearted.
Boogie Nights is Anderson's second feature. When I saw the first one in 1996 at the Cannes Film Festival, I felt I was watching the work of a born filmmaker. Hard Eight starred John C. Reilly and Philip Baker Hall in the story of a relationship between an old gambler who shows the ropes in Nevada to a broke kid. As characters played by Gwyneth Paltrow and Samuel L. Jackson get involved, the story reveals hidden connections. It is a riveting debut film.
1999
Chicago, October 1997 - Paul Thomas Anderson has made one of the best films of 1997, and at age twenty-seven is getting the kind of attention no young director has had since Quentin Tarantino erupted. His Boogie Nights, which follows a cast of colorful characters through six eventful years in the adult film industry, is the year's best-reviewed film - a hit at the Toronto and New York Film Festivals.
Although the film's subject matter is touchy, Boogie Nights is not a sex film; porno supplies the backdrop to a traditionally structured Hollywood story about an unknown kid (Mark Wahlberg) who is discovered by a director (Burt Reynolds), encouraged by an older actress (Julianne Moore), and becomes a star - until his ego and drugs bring everything crashing down.
Apart from anything else, the film is about filmmaking. It captures the familial atmosphere of a film set as well as any film since Truffaut's Day for Night. The focus is not on sex but on loneliness and desperation, leavened with a lot of humor, some of it dark, some of it lighthearted.
Boogie Nights is Anderson's second feature. When I saw the first one in 1996 at the Cannes Film Festival, I felt I was watching the work of a born filmmaker. Hard Eight starred John C. Reilly and Philip Baker Hall in the story of a relationship between an old gambler who shows the ropes in Nevada to a broke kid. As characters played by Gwyneth Paltrow and Samuel L. Jackson get involved, the story reveals hidden connections. It is a riveting debut film.
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