September 30, 1999

Archived update from Cigarettes & Coffee, run by Greg Mariotti & CJ Wallis from 1999-2005

Paul's New Music Video Debuts 10/1/99

According to the Unofficial Fiona Apple Website Never is a Promise - Fiona's incredible new PTA directed video will be debuting on MTV during Total Request Live at 3:30 p.m. and 8:30 p.m. Friday! Here's their summary of the video (they also have stills and a partial download of the video available at their site).

Fast As You Can - The Video!  As for the biggest surprise of all, we have the video for "Fast As You Can!"  It's directed by P.T. Anderson (who is absolutely crazy about Fiona and it shows!) He has created a simply dazzling video!  With the opening black & white zoomed shots, we're artfully enveloped into an intimate, fresh, and playful Fiona.  There's a seamless transition to color shots of Fiona in various areas including a garage, inside a house and in the L.A. metro.  It's captivatingly edgy, cool, fresh-looking and artistic. You are all going to love it!

September 23, 1999

Archived update from Cigarettes & Coffee, run by Greg Mariotti & CJ Wallis from 1999-2005

Magnolia Soundtrack

According to the Official Aimee Mann Website, the Magnolia soundtrack should hit stores around Thanksgiving and will include 8 of her songs. It's still not clear if there will be a score as well but I will keep you posted as new information comes in.

New Magnolia Trailer/Poster

Word from a loyal cigarettes and coffee reader is that a full trailer and theatrical poster should hit the theaters on or around September 30th. It will be great to see a full length trailer and the new poster design. I will update this information as soon as I learn more. (Thanks to Jason!)

September 16, 1999

Archived update from Cigarettes & Coffee, run by Greg Mariotti & CJ Wallis from 1999-2005

Paul Shooting New Fiona Apple Music Video?

According to the nice folks over at the Unofficial Fiona Apple Website - Never is a Promise, Paul is shooting the first video from Fiona's upcoming new album. No word yet on the concept of the video, which was reportedly shot last weekend. I will keep you up to date on the latest happenings.

September 8, 1999

Archived update from Cigarettes & Coffee, run by Greg Mariotti & CJ Wallis from 1999-2005

Magnolia Release Date?

According to the latest issue of Variety magazine, Magnolia is still scheduled to open up in limited release on December 25, 1999 (the deadline for 1999 Oscar consideration). It would then open wider on January 7, 2000. According to the article, six films are currently scheduled to open on Christmas day, so it's very possible that we may see some movement. Hopefully, Paul and New Line decide to push the title up a bit but it's looking like a very crowded holiday season.

September 5, 1999

Archived update from Cigarettes & Coffee, run by Greg Mariotti & CJ Wallis from 1999-2005

There was a Workprint of the film that Paul talks about extensively on the commentary. It was basically ripped off by one the editing companies that was putting together one of the trailers and it was circulated around town before Paul had locked down the print. He was very disappointed by this and even called up some of the people who had gotten a hold of the workprint and asked them where they got it. Paul was extremely flattered that people about the "buzz" the movie was creating, but he wanted people to see the film the way that it was intended (i.e. finished and in the theater).

I have to admit that I am such a huge fan that I had a copy of it fall in my lap a couple of months ago and I was curious to see it. It's quite a murky mess (because it's not a first or second generation) but it does have many additional bits of dialogue, and scenes (some not included on the DVD or Laserdisc). It follows the script a little more closely and includes many of the dialogue cuts that were probably mandated by the MPAA in order to achieve an R rating.

But please remember that the film that was released was Paul’s director’s cut. Let’s hope that someday he puts together a Special Edition longer cut just for diehard fans that want to see some of the extra bits.

Enjoy!

To make things easier I am using the timing of the DVD version so you will know where the scenes would fit into the film.

.34

The Workprint adds to the opening credits after New Line Cinema presents:

A Lawrence Gordon production

In Association with Ghoulardi Film Company

A P.T. Anderson Picture

7:42

Small dialogue exchange between Reed, Becky & Buck discussing what to do. Little Bill comes along & they all decide to head home (See deleted scene "Ham and Cheese" on the Boogie Nights DVD)

10:35

Little Bill opens the door to his bedroom

Workprint adds

Wide shot of Little Bill’s wife grinding on the stud.

Little Bill: What the fuck are you doing?

Little Bill’s Wife: What the fuck does it look like I’m doing?                                             I’ve got a cock in my pussy, you idiot!

(This line was probably cut at the request of the MPAA as was the fact that during the whole conversation she is continuing to fuck the stud, in the theatrical version she stops grinding during the conversation).

14:06

This montage is in a different order

Workprint

Rollergirl in school

Buck at the stereo store

Eddie and Cheryl Lynn

Theatrical

Buck at the stereo store

Rollergirl in school

Eddie and Cheryl Lynn

25:23

After Rollergirl says “Don’t fucking come in me” Workprint adds:

Jack (off camera): Aim it towards her face, Eddie.

Rollergirl: Fuck you Jack!

Then to the Jack line “aim it at her tits Eddie."

27:33

Eddie and Mom fight

Eddie: I’m not stupid!

Mom: Yes, you are

Workprint omits the following:

Eddie: Please don’t’ fucking do that! Please don’t be mean to me!

Mom: I’m not being mean to you, you’re just too stupid to see it!

53:26

First Sex Scene

Workprint has a different shot selection (due to MPAA mandated cuts)

Wide angle shot of Dirk laying Amber on the desk and a full view of Dirk’s ass as he is pumping repeatedly into Amber. Their dialogue here is indistinct.

The theatrical version uses a close-up of them and the following dialogue before he lays her on the desk:

Amber: OK, we’re gonna go down now. OK. No, do it again. No, OK.

1:01:41

1st Awards Ceremony

The following lines were added before Dirk comes up to accept his award:

Jessie: I can’t wait to get that big cock inside my mouth, my ass, my pussy or any which way he’ll give it to me. (Probably cut by MPAA request).

1:22:32

New Years Eve

When Little Bill walks into the room, the camera follows him inside and we see Little Bill’s wife leaning over a desk or bed getting it from behind by another young stud. She turns and looks up at him and then turns back around and continues.

1:24:05

The camera follows Little Bill into the room and we see him fire off three shots that hit Little Bill's Wife and the young stud as they collapse onto the floor.

1:26:15

Amber’s Documentary

Brock Landers (Dirk) slaps girl

Workprint adds:

Girl: Do it again, maybe I’ll get my pussy we next time!

[Cut back to Dirk doing interview with Amber]

Dirk: Strength is sexy, you know. My whole thing about being sexy is it has to be masculine, you know?

[Cut to Additional shots of Rollergirl giving him head]

Dirk Voiceover: You can ask any person I’ve ever worked with, any actress I’ve never ever put my hand on her. Unless it’s in a way they wanted me to.

[Cut back to Dirk doing interview with Amber]

Dirk: In that’s just how it is and I think it’s very sexy because it’s between the two characters, you know? And even though I know you’re bad, and you know I’m good, we still get it on.

1:35:50

Dirk trying to get hard in the bathroom

In the Workprint this was one long take of Dirk stroking his thing. Scotty opens up the door (you see this in the mirror) and kinda of takes a long pause and then shuts the door. Dirk looks up and says:

Dirk: What the fuck?!

Then he turns around and opens the door (It’s not clear if he saw that it was Scotty or someone else).

Theatrical version adds dissolves of Dirk stroking and the following lines:

Dirk: Your ready, you were born ready. Come on!

(A little karate pose) and then opens the door and exits the bathroom

1:40:07

Montage

This section has radically different sequencing and added scenes from the theatrical version.

Workprint

Johnny Doe shooting his scene with Jack directing and the Colonel behind him on the couch.

Shot of a house in with the title underneath “Bakersfield, CA”

Jerome: (looks real different know as his head is shaved) Fucking Whore! You’re a fucking whore!

Becky (meekly): Jerome, you’d better stop it.

Jerome: (coming at her with a belt) You like big dicks!

Becky: Stop it!

Jerome: I bet you wish my dick was bigger!

Becky: Don’t you….

[Jerome hits her in the face]

Buck and Jessie at the bank.

Rollergirl and Amber doing coke in the bedroom.

Summer and Skye in the hot tub

Rock Harders (Johnny Doe) footage Johnny can clearly be heard saying:

Rock (Johnny): Lick my balls, bitch!

Todd entering Dirk’s with the coke

Back to the bank.

Back to Rollergirl and Amber

Dirk and Reed trying to get the demo tapes

Back to Rollergirl and Amber

Back to studio (“It’s not an MP, it’s a YP – your problem”)

Back to bank (Buck turned down for loan).

Dirk snorting cocaine

Jack walking through the warehouse.

Added shots of Jack opening the door to receptionist area where two cops are waiting:

Jack: Hello there.

Cops: You Jack Horner.

Jack: Yeah.

Cops: There was an accident the other day.

Cut to Reed walking in to and Dirk lying on the couch.

Reed: Oh fuck Dirk! Remember that kid, Johnny Doe?

Dirk: No.

Reed: The kid from Jack…….

Dirk: What about him?

Reed: (kind of grinning) He died. He got in a car accident a couple of days ago and he died. He like went through the windshield or something. Fucking shit.

Dirk: Are you serious?

Reed: Yeah, he’s dead, can you believe it?

Dirk: Tough luck. Going through the windshield, that’s gotta hurt.

[Phone Rings]

[Fleetwood Mac’s Tusk starts playing the background]

Cut to Becky crouched in the corner of the kitchen holding phone (visibly beat up)

Becky: Dirk, I need you to come and get me. I need you to come and see me Dirk.

[Jerome pounding on the door]

Jerome: Open the fucking door! I’m giving you one more chance!

Dirk: Calm down and tell me where you are.

Becky: Me..Meet me at the Denny's in Bakersfield.

Dirk: OK, I’ll be there right now, just calm down and wait for me. I’m coming right now, right now.

Becky: Please don't do anything to me, Jerome. Please. Please. I ask.

Jerome: Think your Miss Fuckin Movie Star with a dick in your mouth? Huh? You're gonna tell me - tell it me or I'm gonna break your fuckin' jaw.

Becky: I don't know what you want me - 

Jerome: I want you to tell me that you liked getting fucked by those men in those movies. I want you to tell me that you loved getting shit in your face - You fucking say it, cunt.

Becky: I liked it...........

Jerome: Do you like big dicks?

Becky: I don't know what you want me to..

Jerome: Say it.

Becky: Yes, I like big dicks.

Cut to Jerome punching Becky in the face.

Dirk: (to Reed) I gotta go kick some ass!

Reed: whose ass?

Dirk: Don’t worry about it.

Reed: Becky? Like our Becky? I want know.

Cut to Becky as Jerome walks away

Becky grabs a frying pan and hits him over the head repeatedly and then runs out of the house and down the streets as the camera pulls back and up (crane shot).

Cut to Dirk driving down the street, snorting coke, fixing his hair in the mirror as he loses control of the steering wheel and crashes the Corvette into a telephone pole.

Cut to Becky sitting at the diner drinking coffee and waiting for Dirk.

[Judge (Veronica Hart) voiceover]: Do you have a lawyer with you?

Amber: No, I don’t

Theatrical version

Dirk and Reed in the studio

Johnny Doe shooting his scene with Jack directing and the Colonel behind him on the couch.

Rollergirl and Amber doing coke in the bedroom.

Buck and Jessie at the bank.

Summer and Skye in the hot tub.

Rock Harders (Johnny Doe) footage. Johnny says:

Rock (Johnny): Yes, Bitch!

Todd entering Dirk’s with the coke.

Back to bank

Back to Rollergirl and Amber

Dirk and Reed trying to get the demo tapes

Back to Rollergirl and Amber

Back to studio (“It’s not an MP, it’s a YP – your problem”)

Back to bank (Buck turned down for loan).

Jack walking through the warehouse.

Dissolve to Amber in Court

Theatrical Version adds:

Judge: You must be Maggie, I’m Kathleen O’Malley, the judge.

Long shot holding on Amber.

2:20:51

Final Montage

Workprint adds:

Cut to Becky working in a retirement home serving food to some elderly patients.

Final Note: Don't forget there are many other scenes that did not make the cut. Some which were filmed & others that were not. To read the additional scenes with Maurice & Rollergirl, Dirk's visit back at his parents house where Cheryl Lynn is now married & living, etc., pick up the Boogie Nights script by following the link below.

September 4, 1999

Archived update from Cigarettes & Coffee, run by Greg Mariotti & CJ Wallis from 1999-2005

De Luca named Variety Showman of the Year!

Mike De Luca, President of Production for New Line Cinema was named Variety's Annual Showman of the Year. Previous honorees include Michael Eisner, Michael Crichton, Robert Wright, and Jim Carrey. 

Here are Paul's comments on New Line and Mike:

Paul Thomas Anderson, writer-director of Boogie Nights puts it bluntly, "I go where Mike goes. He lets me do what I want to do but, he can also guide me away from some self-inflicted wounds I might cause." Studios have suggestions, but "if you're an egotistical filmmaker like myself you don't want to listen."

As for what sets Michael De Luca apart: "I really haven't dealt with that many other studio execs. I've met a few of them and I wouldn't want them to have my home phone number. But Mike does.

"Everybody in Hollywood rushes to give their opinion and he doesn't do that. What he can do is not say a lot and keep his mouth shut and let you discover it. I would prefer to not make movies anywhere else and I think there's a lot of people who feel the same way."

Courtesy of Vanessa Torres - Variety Magazine August 23-29, 1999

Paul's Ad

Here's Paul's ad in Variety congratulating Mike De Luca

September 1, 1999

Archived update from Cigarettes & Coffee, run by Greg Mariotti & CJ Wallis from 1999-2005

Roughcut Scoop/Magnolia to be trimmed and pushed up??

Editor's Note: This scoop courtesy of Rough Cut 

THE GOOD: Jeff Wells got some early poop on Paul Thomas Anderson's Magnolia and thus broke the code of silence around the picture. Jeff's concerns about the over-three-hour running time led to an exchange between myself and New Line's Michael DeLuca on Magnolia, with DeLuca kindly laying out the studio's position on how they handle a three-hour movie: "Here's the straight scoop: There's no pressure on Paul to cut. I don't pressure world class filmmakers. I make suggestions, Bob Shaye makes suggestions, but that's it. I flipped over the film, and all I told Paul was that if he could, he should try to keep the running time requirement for four shows a day as opposed to three in his mind while trimming. He agreed and he's been trimming on his own these past four weeks. I let Paul have his own process, and he often screens changes for me.

We totally knew what the film was going to be when we read the script. No surprises. I thought we'd end up with a three and a half hour movie and he's actually going to end up much shorter. We never thought that the commercial chances for Magnolia would be determined by running time. It's either going to connect as the greatest film ever made before the ending of a millennium, or it won't, but a half hour will not make the difference. With this kind of movie, it's the total experience of the film itself that sells the film. All we told Paul was cut the best movie you can."

In Jeff's conversation with Paul Thomas Anderson, a potential Thanksgiving release on as many as 1800 screens was brought up. New Line got killed in platform release for the underrated and underseen Living Out Loud last year, so one more exchange on the release, so I felt compelled to ask if they were going wider to avoid the past. Apparently not. DeLuca on distribution: "We're actually trying to avoid December competition (Ripley, The Green Mile, etc). There's like four three hour movies in December. So I want to either be the first or the last (a January release with a qualifying run, like we did Wag the Dog). We were always going wider than 800, [it was] just a matter of when."

And I guess it still is. There aren't many production chiefs in Hollywood who surf the Web, much less indulge those of us who work out here. Mike DeLuca is a rare bird in that way and in many others. The most remarkable one is that I don't think he's ever misled me, on or off the record. Could being honest be the future of Hollywood? Let's see. In my experience, Fox and New Line are the most willingly informative and most direct of the studios. And they do pretty well. Hmmmm...Like Cosmo suggested in Sneakers, does the power to create destruction (a big Web issue) come from "Too many secrets?" Hmmmm...

Courtesy of Roughcut by David Poland

Premiere Magazine Tidbit

Magnolia is discussed in the September 1999 Fall Movie Preview. 

The Pitch:

During one day in the San Fernando Valley, the lives of several disparate people (including Julianne Moore, William H. Macy, Philip Seymour Hoffman, and John C. Reilly) intersect, with tragicomic results.

The Big Picture:

Writer-director Paul Thomas Anderson (Boogie Nights) denies the rumor that the script for his $30 million-plus follow-up runs a staggering 160 pages. "No," he says with a laugh. "It's longer." He refuses to say much else about it, however. "I feel lately as if I know everything about a movie before I see it, " he says, "and I really want the audience to discover this purely." Some of the Nights cast have returned, plus one rather prominent addition: Tom Cruise, in an un-billed role. And (get this) it was Cruise who approached Anderson. "It's like getting the phone call from the President of the United States, " Anderson says. "If he hadn't called, I just would have assumed he wasn't gettable for me." But if the first days of filming seemed like a class reunion, that feeling didn't last. "Julianne was the first one to shoot - she kind of got the baseball bat in the face," Anderson says, figuratively speaking. "It was emotionally arduous," Moore confirms, "Paul pushed me really hard - much harder than someone I didn't know would have." Macy, who plays a former quiz-show whiz kid obsessed with a male bartender, endured pain of a more physical nature. "Paul had an idea for a gag where I leave the keys on my belt chain in the door and walk away, and it's supposed to knock me ass-over-teakettle," Macy says. "He made me do it 35 times . My whole hip was black and blue by the end of the night." Perhaps Anderson was getting even. Earlier, when the director was discussing how one scene should be shot, Macy observed that the proposed angle was unflattering to him. "Oh, here it starts," Anderson roared. "One fucking nomination and suddenly... You're not a leading man; you're a character actor." Macy gibed back: "And you're a cult director who doesn't know when to stop writing."