TWBB Rolling Roadshow Reports (Updated)

The Alamo Rolling Roadshow screening of There Will Be Blood took place this past Sunday in Bakersfield and site friend Ben reported back a little about it.

Screened from a 35mm print and described as "the perfect setting" to see the film, Ben provided you all with a photo for proof. he also passed along an epic silhouetted shot of the nearby derrick.

Rumor has it Paul was spotted at the Jackie Brown screening but wasn't in attendance on Sunday. If you know otherwise, let us know. Before the film started, there was a milkshake drinking competition that involved 3 foot long straws with the winnner receiving a bowling pin from Paul's own personal collection.

These dudes filmed their day and made it into a little bit of business for Youtube.



We will return with Flashback Friday in two days and an exclusive interview with a PTA alumni crew member is on it's way shortly.

Update (12:11pm):

Jade mailed us to say the following:

PTA was at "Jackie Brown", but as soon as he started getting recognized, he quickly left. He may have returned during the film, but I'm pretty sure he left, and was definitely not at the after-party. 

I'm sure he was trying to stay to wait for QT, but QT didn't arrive 'til around 8:45 and PTA was there way before then -- around 7 PM.

I'm sure he wanted to leave because people started asking him more about "The Master".

Jade also confirms that "PTA was definitely not at "There Will Be Blood" but it was truly an amazing experience to see the film there. Seeing it at the Kern County Museum made me appreciate the film, California and the journey so much more"

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Brand New There Will Be Blood Poster

Regarding the Rolling Road Show screening of There Will Be Blood I posted about on the 24th, Apple Trailers now has a page set up for this event and the debut of a brand new poster designed by artist Olly Moss. Click here to see the new poster. (thanks modage)


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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:

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."

You have now read this fact 4 different times in an update containing 5 or 6 sentences total.

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Flashback Friday: Exclusive Pat Healy Interview

Today's Flashback Friday is another site exclusive interview from November 2000 with Pat Healy, who played Sir Edmund William Godfrey and also his son, the younger pharmacist from the Moore meltdown "Don't You Call Me Lady" scene. Enjoy:

C&RV: How did you get started in the acting business?

PH: I came out to Los Angeles in the Spring of 1998. I had done a lot of series television prior to that. I did guest appearances on The Practice, Profiler, NYPD Blue & Buddy Faro (with Dennis Farina). That show didn't last too long. I think it was cancelled after they ran the opening credits. How about "Turks," does anyone remember that one? Hello.....

C&RV: How did your part in Magnolia happen?

PH: My agent had a relationship with the casting director Cassandra Kulukundis. So I sent her my picture. Paul had her looking for real unknown people to populate the world that he created. He wasn't looking for anyone to too familiar for the supporting roles.

C&RV: So she called you in for an audition?

PH: Yeah, I went in on short notice just to be put on tape. She & I just hit it off & we talked for about an hour. I then ran through the scene with her. She left the room & came back with Paul. I was totally blown away. Because I was already a "geeky fan boy" of his anyway. We're roughly the same age & have the same interests. We're both total film geeks. 

I did the scene for him a bunch of times & he said, "You can have this part if you want it." I was like, "OK. I have never had that happen before." He said, "It's going to be great. We have the whole day to shoot the scene & Julianne is going to be there." So that's it. He gave me the part.

C&RV: Did you get the whole script at that point?

PH: I didn't have one at the time. I had to sign like two or three confidentiality agreements. It was pretty tight. Then I got the script which looked like a phone book. Every script had the actor's name & it was numbered with the actor's name on every page.

C&RV: So you were only aware that you were doing the part of the young pharmacist?

PH: Yeah. He hadn't talked to me about the prologue scene as Sir Edmund William Godfrey. I had read it in the script, but it never even occurred to me. I didn't know that I'd be doing that part until about five months later. Paul knew all along. I just got a call that they wanted to some additional scenes.

C&RV: How was that to shoot with the Pathe camera on the Universal lot for the prologue scenes?

PH: It was really exciting. Everybody was really excited because no one had used that camera before. They did some tests, but they're weren't sure how everything would turn out. They had a metronome to keep the timing. Paul was still able to move the camera the way he liked.

C&RV: Any problems during that part of the shoot?

PH: No. Except that the little girl who played my daughter was terrified of me. I had the long cape, big hat & mustache on. She was supposed to jump into my arms, but she would stand in the corner. Paul would try to coax her, but with not much luck. You don't end up seeing her much at all.

C&RV: Did you have to do the scene any slower when using the Pathe camera?

PH: No. We did it at normal speed. It's very strange. For example, when I get punched, the arm was nowhere near my face. But because of the speed of the camera, it looks like it hits me right in the face. But it wasn't even close.

C&RV: Tell me about shooting the scene with Julianne Moore in the pharmacy?

PH: It was shot in one, long twelve hour day. He shot her coverage first which was really great. I got see what see was doing which gave me plenty of time to prepare & know how to react to her. She was incredible. Paul shot her breakdown first & she just nailed it in three takes. I think the scene that was used was like the first or second take. She's just amazing.

C&RV: How is Paul to work for in terms of what he gives to you as a director?

PH: He's great. He's just a fan of actors, so he's completely supportive of anything & everything that you want to bring to the role. His writing is good, so there's just no need to a lot of improvising or adding on to the scene. 

He's like a kid. He gets really excited about the camera & the actors. He gets you excited about it. He was really generous while shooting the pharmacy scene, we did it a couple of times & he was like, "OK, that's great, we got it." 

I didn't say anything, but I had a look on my face & he looks at me & says, "What?" I told him that if we did it one more time, I think I could really nail it. So he says, "OK, everybody, set it back up, we're gonna do it one more time". Which was really great, because who the fuck am I? 

C&RV: Do you find it easier to act the way that Paul writes or do you like more specifics about the character?

PH: I like the way he writes. He really trusts his actors. I just shot my first short film "Mullitt" & found that really good actors will bring a lot to the part. It's been submitted to the Sundance Film Festival. Henry Gibson is in it. He plays a gay landlord.

C&RV: How did you get Henry Gibson?

PH: I met him at the first cast & crew screening of Magnolia. He came up to me after the movie & was very complimentary of my work. He was just a really sweet & nice man. While I finished writing the screenplay, I was watching Magnolia & thought he would be perfect. So I sent him a script & a letter never thinking he would have time or anything. Then a week later I got a call from him & told me he really liked the script. He had some great ideas & said that he'd really like to do it which was great.

C&RV: Any experiences or advice while making your own film that you can share for aspiring directors?

PH: This was a really interesting experience for me making my own film. Just write something that you would like to see & everyday just do something to get it done. Whether that's talking to somebody about being in the film, trying to get your crew, give your script to people, etc. 

When you start working on films, you meet people & develop relationships. If you write something good, you'll find that people will want to help you make it. Don't listen to any of the conventional wisdom. You don't have to kiss up to people or sell your soul to make a film. 

A huge lesson that I learned from Paul is that he's really excited about what he's doing. More importantly, he's a nice man & he's nice to his cast & crew, so they have a tremendous amount of respect for him. 

They all have a good time on the set. If people believe in the project, they will do anything to help out. Paul shot Magnolia for six months, but everyone remained positive & would do anything for him. He also comes to work extremely prepared. 

If you think everything out ahead of time, half of your job is done when you get to the set.

C&RV: What else is on the horizon for you?

PH: In the spring, I finished filming In Memory of My Father, Ghost World with Steve Buscemi & I have a small part in Michael Bay's Pearl Harbor. But I've had the most fun shooting my own short film which I'm also acting in.

C&RV: Thanks for your time.

PH: Thanks a lot man. I frequent your site & I'm really honored to be a part of it.

And now, the moment some of you have been waiting for: The Winner Of The Poorly Planned Facebook/Twitter  Contest. The winner is Max Watts. Max wins a copy of PTA's 6 Music Videos DVD and having any future contest regulations/limitations named in his honor.

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Rolling Road Show Screening There Will Be Blood

Throughout the month of August, the Rolling Roadshow Tour has lined up 9 venues across America to screen films starting in Los Angeles with Jackie Brown to a rooftop in New York showing Godfather 2. August 8th, they have decided to show There Will Be Blood: (thanks @jeradams)

One of the most celebrated releases of the past decade, THERE WILL BE BLOOD is acclaimed auteur Paul Thomas Anderson's most epic film to date. Set in the uncharted Southern California of the turn of the 20th century, the film follows ruthless oil man Daniel Plainview as he toils his way from lowly prospector to cruel magnate and crushes all of the little people along the way.

The film's scope is huge, on par with a picture like CITIZEN KANE. It also tells a version of the America myth, a rags to riches story through treachery and backstabbing that acts as a great metaphor for American industrialism. The cinematography of the vast and empty Western landscapes is breathtaking. The unsettling and daring score by Radiohead's Johnny Greenwood is superb. Add to this grand narrative the unbelievable performances by Daniel Day Lewis and Paul Dano as the ill-fated preacher boy, and THERE WILL BE BLOOD rises to the status of masterpiece.

What better place to see this beautiful film than in a boundless field in Bakersfield, California -- where much of the film takes place -- and in eyeshot of an actual oil rig? We'll be enjoying this show at the Kern County Museum.  

General Info: Screenings begin at sunset. Please bring your own chair or blanket. Restroom facilities will be available. 

Kid Policy: 18 and up; Children 6 and up will be allowed only with a parent or guardian. No children under the age of 6 will be allowed.

Visit/Bookmark this page to purchase tickets to the show, as they are not yet available. If any of you end up attending the event, feel free to pass along your thoughts/reviews to me for potential inclusion on a slow news day.

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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 Rance

Mark 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. 

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.

Tomorrow we will have details for an interesting upcoming screening of There Will Be Blood.

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Contest: Win "6 Videos By PT Anderson" DVD (Updated)

In an attempt to help spread the word about our new site location and (nearly completed) archives revival, I will bribe you with winning a copy of the extremely rare "6 Music Videos With PTA" DVD.

How to enter the contest is simple and you can do it two different ways:

Number One: From Your Twitter Account

Post a message anyway you like but it has to include @cigsandredvines (so i know you did it and can easily track the entries) and our address: www.ptanderson.info. A 'Follow Friday' mention will count as well, if you prefer to spam a bit more subtly. 

Number Two: From Your Facebook Account

Post a message anyway you like but it has to include a tag to our group page (@Cigarettes And Red Vines for the same reasons as above) and our address: www.ptanderson.info

Contest Entry Rules & Deadlines

Each time you do an update and tag us counts as one contest entry. Obviously you are not limited to only doing one or the other and you can enter as many times as you are willing to spam your friends and associates. 

The contest begins right now and will run until Midnight PST on Friday, July 30th, 2010. One winner will be chosen at random from all eligible entries. And part of the deal is I humbly request the winning party not be a knob and put copies up on Ebay.

Context: We were only ever given 5 copies back in the day when Paul printed them for us. I believe we gave away 3 of them to site readers and Greg and I kept one each.

My disc didn't come with cover art for some reason or another that Greg told me so unfortunately I will only be able to send you a copy of my copy in a basic case. The only thing you are missing out on is Paul burnt "Non Playable Side. Dummy" into the holographic information ring in the middle of the disc.

The videos are Michael Penn's "Try," Aimee Mann's "Save Me" and Fiona Apple's "Fast As You Can," "Limp," "Across The Universe" and, my favorite by far, "Paper Bag."

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Fascinating Update, 5:20pm:

This has been literally going on since 7am this morning, both averaging about a post every 15 seconds. In the blue trunks, hailing from Facebook: Max. In the red trunks, all the way from Twitter: Nigelfordham. Max's friend Ben got really pissed off at him for posting over 200 times by 1pm and is now trying to keep pace in an attempt to win it out of spite, which is hilarious. Thank you for the great response so far and entertaining the hell out of me along the way.

Try Music Video Archives Completed

Paul Thomas Anderson's first music video "Try" by Michael Penn is a single shot video that is set inside a three quarter-mile long hallway in Los Angeles. In Michael Penn's words:

"I was having a hard time trying to figure out what to do for a video for this song, and I was talking to Paul about it and he had always expressed a desire to do it, but I really didn't think that he would do it, that he would be able to because he was cutting Boogie Nights at the time. 

We started talking about the song apparently he knew a location in Los Angeles which is the longest hallway in North America, it's 3/4 of a mile long, and we went there together and kind of looked at the location and we walked it while a walkman was playing the song and it was just about the same length to walk it as the song. 

That kind of suggested an idea and it worked out great because the video is one continuous shot so there was no editing involved so we were able to do it all in one weekend. And that's what we did. I think it took about 14 takes to accomplish."

There are a few interesting facts you may or may not have known and they can all be viewed here.

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Cigarettes And Coffee Archives Completed

There isn't a ton of information about Paul's short film Cigarettes and Coffee but whatever is known has been uploaded and archived onto our site here. The main feature of this page would probably be the only-known review written by VHS Nation about the short.

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