Have you been wondering what PTA has been up to since 2002's Punch-Drunk Love? Paul never ceases to surprise us & it seems his next film will most likely be......."Oil"! "Oil!" is 1927 novel by Upton Sinclair that PTA has adapted. This would be his first film not based on on of his own original screenplays. It's a tale of of scandal, intrigue and politics. Makes sense & ties in nicely to this story reported awhile back. It looks like Daniel Day-Lewis will be the star. I know, that's not too much of a surprise, but that's all the casting I've heard thus far. Lastly, it seems that Paul is still looking for financing, so a studio has yet to be determined . Obviously, a possible release date can't even be speculated at this point. I'm very confident that my information is correct, but it's Hollywood & things can (& do) change on a regular basis. Stay tuned for the latest.
Sunday, March 27, 2005
Exclusive Details on PTA's 5th Feature
archived updates from cigarettes and coffee:
Monday, March 08, 2004
Interview: PTA Q&A
Paul Thomas Anderson Q&A, Written By James Yarmolinsky
March 8th, 2004
>> When you were growing up (more specifically in your teenage years) did you go through many different phases (like most kids) as to what you wanted to do in life as a career or did you always consider yourself destined to be a filmmaker?
I always wanted to be a filmmaker. Of course, I was never sure if I would have the opportunity to make films and get paid for doing it so I always thought about what else I might do -- I just wanted to make sure that I got to work on films, even if i wasn't directing them. I could have ended up working as an editor or photographer, anything as long as I was working.....
>> Was there any one film that you remembered seeing when you were younger that instantly made you realize that you wanted to be a film director?
So many films that I saw -- Jaws, Wizard of Oz, Rocky, all the Disney movies that kids see, in one year, when I was 12, I saw Reds and Prince of the City -- that really hooked me for good.
>> What advice would you give to young people interested in having a career in film? Film school vs. Hands on experience, etc.
It's so hard to say. There is no "correct" path. It all depends on you. What works for some people might not work for you. There's nothing that says you can't do both. Working on films and going to film school doesn't mean you do just one or the other.....working hard and often is the best thing.
>> If you had to choose between spending the rest of your life either a) Writing screenplays that you didn't direct or b) Directing screenplays that you didn't write, which way would you rather have it?
Boy, oh, boy. The good news is: I don't have to make this choice. Writing and directing are things that go hand in hand. For me, one is impossible without the other at this time. Sometimes people feel they need to make this choice, but I don't think it's true. If you write, the great thing is that you own it and you've created it, so all the decisions are yours to make, right or wrong.
>> If you weren't a filmmaker, what career would you have probably gone into?
I would have loved to have been a baseball player...but I can't really play baseball very well. I'm most jealous of novelists and photographers, they have great jobs, it seems.
>> Of all the characters in all of yours films, which one do you most closely relate to?
I relate to all of them. I can see all their good parts and bad parts. Secretly, I'm really partial to Jim Kurring in Magnolia.
>> Everyone knows that you are not a big fan of the "Digital Revolution" that's been going on the last few years in the film and television industry. Many filmmakers (Spike Lee, Robert Rodriguez and George Lucas of course) have sworn to never shoot a movie on film again. What is it that film has that video doesn't?
I'm not against anything going on in the digital filmmaking. I just don't like it right now as much as I like other types of tools to make a movie. Someday, I will – when it's right. I like film because of the quality, the density, the breadth, the sweetness.....all those good things. It doesn't matter how it gets up there -- it only matters what it's doing for the story.
>> If you could sit down and have a cup of coffee with anyone, living or dead, who would it be?
John Lennon, John Steinbeck, Bill Clinton, Carole Lombard, Fred Astaire. To name a few...
>> What are some of the perks of being a filmmaker that few people know about? (Let's say the Top Five Perks)
They give you a secret pass when you become a filmmaker that allows you to be above the law in all respects. In other words, I can murder someone and get away with it – which comes in handy from time to time when someone disagrees with me.....I know that's not five....but it covers a lot of ground.
>> Do you see yourself directing on Broadway (like directors Sam Mends and Baz Luhrman) anytime in the future?
That would be wonderful. I've always thought about it and I know I'll do it sometime. Just not sure when. I love being in New York and when I see friends put on plays there -- there's a better sense of excitment than I've ever seen. If you can make it there, you can make it anywhere, as the song says.
>> If you could change one thing in this world, what would it be?
HA! George Bush.
>> And lastly, would you possibly be able to give us any details on your next movie? Please??
Nope! Sorry. No details from me. Access denied. Thanks for your questions, again. I hope they make sense.
March 8th, 2004
>> When you were growing up (more specifically in your teenage years) did you go through many different phases (like most kids) as to what you wanted to do in life as a career or did you always consider yourself destined to be a filmmaker?
I always wanted to be a filmmaker. Of course, I was never sure if I would have the opportunity to make films and get paid for doing it so I always thought about what else I might do -- I just wanted to make sure that I got to work on films, even if i wasn't directing them. I could have ended up working as an editor or photographer, anything as long as I was working.....
>> Was there any one film that you remembered seeing when you were younger that instantly made you realize that you wanted to be a film director?
So many films that I saw -- Jaws, Wizard of Oz, Rocky, all the Disney movies that kids see, in one year, when I was 12, I saw Reds and Prince of the City -- that really hooked me for good.
>> What advice would you give to young people interested in having a career in film? Film school vs. Hands on experience, etc.
It's so hard to say. There is no "correct" path. It all depends on you. What works for some people might not work for you. There's nothing that says you can't do both. Working on films and going to film school doesn't mean you do just one or the other.....working hard and often is the best thing.
>> If you had to choose between spending the rest of your life either a) Writing screenplays that you didn't direct or b) Directing screenplays that you didn't write, which way would you rather have it?
Boy, oh, boy. The good news is: I don't have to make this choice. Writing and directing are things that go hand in hand. For me, one is impossible without the other at this time. Sometimes people feel they need to make this choice, but I don't think it's true. If you write, the great thing is that you own it and you've created it, so all the decisions are yours to make, right or wrong.
>> If you weren't a filmmaker, what career would you have probably gone into?
I would have loved to have been a baseball player...but I can't really play baseball very well. I'm most jealous of novelists and photographers, they have great jobs, it seems.
>> Of all the characters in all of yours films, which one do you most closely relate to?
I relate to all of them. I can see all their good parts and bad parts. Secretly, I'm really partial to Jim Kurring in Magnolia.
>> Everyone knows that you are not a big fan of the "Digital Revolution" that's been going on the last few years in the film and television industry. Many filmmakers (Spike Lee, Robert Rodriguez and George Lucas of course) have sworn to never shoot a movie on film again. What is it that film has that video doesn't?
I'm not against anything going on in the digital filmmaking. I just don't like it right now as much as I like other types of tools to make a movie. Someday, I will – when it's right. I like film because of the quality, the density, the breadth, the sweetness.....all those good things. It doesn't matter how it gets up there -- it only matters what it's doing for the story.
>> If you could sit down and have a cup of coffee with anyone, living or dead, who would it be?
John Lennon, John Steinbeck, Bill Clinton, Carole Lombard, Fred Astaire. To name a few...
>> What are some of the perks of being a filmmaker that few people know about? (Let's say the Top Five Perks)
They give you a secret pass when you become a filmmaker that allows you to be above the law in all respects. In other words, I can murder someone and get away with it – which comes in handy from time to time when someone disagrees with me.....I know that's not five....but it covers a lot of ground.
>> Do you see yourself directing on Broadway (like directors Sam Mends and Baz Luhrman) anytime in the future?
That would be wonderful. I've always thought about it and I know I'll do it sometime. Just not sure when. I love being in New York and when I see friends put on plays there -- there's a better sense of excitment than I've ever seen. If you can make it there, you can make it anywhere, as the song says.
>> If you could change one thing in this world, what would it be?
HA! George Bush.
>> And lastly, would you possibly be able to give us any details on your next movie? Please??
Nope! Sorry. No details from me. Access denied. Thanks for your questions, again. I hope they make sense.
Monday, November 17, 2003
Interview: Exclusive Fan-Submitted Q&A
Written By Cigarettes & Red Vines
November 17th, 2003
This interview is based on questions submitted by the xixax.com message board. Paul's responses are unedited.
1. Let's talk about Couch. Was it shot on 16mm? Furthermore, was it shot on a Bolex? Tell me about the location? Lots of people have been asking.
The illustrious "couch" was shot in 35mm with a panavision camera and primo lenses at a Levitz in Chatsworth, California. can't remember what stock we used, my short term memory is shot at that moment. The location was simple - it may only appear un-simple because of the bizzare backing we put up in the middle of the store......did i forget to mention "couch" is my favorite thing ever ever ever ever?
November 17th, 2003
This interview is based on questions submitted by the xixax.com message board. Paul's responses are unedited.
1. Let's talk about Couch. Was it shot on 16mm? Furthermore, was it shot on a Bolex? Tell me about the location? Lots of people have been asking.
The illustrious "couch" was shot in 35mm with a panavision camera and primo lenses at a Levitz in Chatsworth, California. can't remember what stock we used, my short term memory is shot at that moment. The location was simple - it may only appear un-simple because of the bizzare backing we put up in the middle of the store......did i forget to mention "couch" is my favorite thing ever ever ever ever?
Saturday, August 23, 2003
Blossoms & Blood (2003)
A 12 minute assemblage of various deleted bits and alternate takes from "Punch-Drunk Love". Originally included on the DVD.
Thursday, July 31, 2003
Interview: "Seeing Things From Different Angles"
Slovenian director Mitja Okorn interviews American director
Paul Thomas Anderson at the Motovun Film Festival, Croatia
Okorn:
I am sorry… I must say that I hate to talk to you and I wouldn't like to talk to you because I have seen your films and I don't understand why you made those films and I don't understand why I didn't made those films. And another reason why I don’t see sense to taking to you is that everything that I won’t to know about your movies can be seen in your movies because they are so transparent.
Anderson:
Well that is very nice of you to say. I can help you. Yea. Well that’s nice that you see that they are transparent. I think that’s what they should be.
We will talk about directing. And let’s begin with the first take of your 2nd feature film Boogie Nights. The opening scene. And from that scene we can get to know you better. Well and from that take we can get the first message about the film and first message from Paul Thomas Anderson to the whole world. And that message is: I CAN DIRECT!!! Do you remember the scene and how did you do it. With a steady cam?
Paul Thomas Anderson at the Motovun Film Festival, Croatia
Okorn:
I am sorry… I must say that I hate to talk to you and I wouldn't like to talk to you because I have seen your films and I don't understand why you made those films and I don't understand why I didn't made those films. And another reason why I don’t see sense to taking to you is that everything that I won’t to know about your movies can be seen in your movies because they are so transparent.
Anderson:
Well that is very nice of you to say. I can help you. Yea. Well that’s nice that you see that they are transparent. I think that’s what they should be.
We will talk about directing. And let’s begin with the first take of your 2nd feature film Boogie Nights. The opening scene. And from that scene we can get to know you better. Well and from that take we can get the first message about the film and first message from Paul Thomas Anderson to the whole world. And that message is: I CAN DIRECT!!! Do you remember the scene and how did you do it. With a steady cam?
Monday, June 23, 2003
Thursday, May 22, 2003
Interview: "Punch-Drunk Helmer Says DVD Gives Movie New Life"
Video Store Magazine, Written By Joan Villa
May 22nd, 2003
When the surreal and oddly involving Punch-Drunk Love arrives next month, DVD special features will give viewers a glimpse behind the scenes of first-time Golden Globe nominee Adam Sandler’s offbeat characterization of a man searching for love.
The DVD will also explore the spare but romantic style of writer/director Paul Thomas Anderson, who also helmed the critically acclaimed Boogie Nights and Magnolia.
The special edition two-disc Superbit DVD of the Revolution Studios film is due June 24 from Columbia TriStar Home Entertainment at $28.96. It contains deleted scenes, a “Blossoms and Blood” featurette, a photo montage, 12 Internet teasers, a theatrical trailer, scene selections and 5.1 sound. It is presented in widescreen.
All those disc features mean “a second lease on life,” said Anderson in an online interview.
May 22nd, 2003
When the surreal and oddly involving Punch-Drunk Love arrives next month, DVD special features will give viewers a glimpse behind the scenes of first-time Golden Globe nominee Adam Sandler’s offbeat characterization of a man searching for love.
The DVD will also explore the spare but romantic style of writer/director Paul Thomas Anderson, who also helmed the critically acclaimed Boogie Nights and Magnolia.
The special edition two-disc Superbit DVD of the Revolution Studios film is due June 24 from Columbia TriStar Home Entertainment at $28.96. It contains deleted scenes, a “Blossoms and Blood” featurette, a photo montage, 12 Internet teasers, a theatrical trailer, scene selections and 5.1 sound. It is presented in widescreen.
All those disc features mean “a second lease on life,” said Anderson in an online interview.
Sunday, April 20, 2003
Interview: Behind The Scenes With Robert Elswit
Background
Adam Sandler and the French New Wave are not often discussed in the same breath, but according to cinematographer Robert Elswit, they both figure in his new collaboration with director Paul Thomas Anderson. Elswit explains that Anderson's latest feature Punch-Drunk Love, which stars Sandler and Emily Watson, takes some of its visual cues from the early color films of nouvelle vague director Jean-Luc Godard. That is not to say that this new Anderson release attempts the heavily intellectual approach Godard was known for. Punch-Drunk Love, promises to be lighter and more straightforward than anything Godard, or even Anderson, has done in the past.
Elswit, who shot all three of Anderson's previous features, explains that the content of the film is more like an early Peter Sellers comedy centered on a main character that we love despite his extensive eccentricity. But the inspiration for the look, he adds, came from Godard's early color films, particularly A Woman is a Woman starring Jean Paul Belmondo, Jean-Claude Brialy, and Anna Karina.
Adam Sandler and the French New Wave are not often discussed in the same breath, but according to cinematographer Robert Elswit, they both figure in his new collaboration with director Paul Thomas Anderson. Elswit explains that Anderson's latest feature Punch-Drunk Love, which stars Sandler and Emily Watson, takes some of its visual cues from the early color films of nouvelle vague director Jean-Luc Godard. That is not to say that this new Anderson release attempts the heavily intellectual approach Godard was known for. Punch-Drunk Love, promises to be lighter and more straightforward than anything Godard, or even Anderson, has done in the past.
Elswit, who shot all three of Anderson's previous features, explains that the content of the film is more like an early Peter Sellers comedy centered on a main character that we love despite his extensive eccentricity. But the inspiration for the look, he adds, came from Godard's early color films, particularly A Woman is a Woman starring Jean Paul Belmondo, Jean-Claude Brialy, and Anna Karina.
Interview: Behind The Scenes With Robert Elswit
Background
Adam Sandler and the French New Wave are not often discussed in the same breath, but according to cinematographer Robert Elswit, they both figure in his new collaboration with director Paul Thomas Anderson. Elswit explains that Anderson's latest feature Punch-Drunk Love, which stars Sandler and Emily Watson, takes some of its visual cues from the early color films of nouvelle vague director Jean-Luc Godard. That is not to say that this new Anderson release attempts the heavily intellectual approach Godard was known for. Punch-Drunk Love, promises to be lighter and more straightforward than anything Godard, or even Anderson, has done in the past.
Elswit, who shot all three of Anderson's previous features, explains that the content of the film is more like an early Peter Sellers comedy centered on a main character that we love despite his extensive eccentricity. But the inspiration for the look, he adds, came from Godard's early color films, particularly A Woman is a Woman starring Jean Paul Belmondo, Jean-Claude Brialy, and Anna Karina.
Adam Sandler and the French New Wave are not often discussed in the same breath, but according to cinematographer Robert Elswit, they both figure in his new collaboration with director Paul Thomas Anderson. Elswit explains that Anderson's latest feature Punch-Drunk Love, which stars Sandler and Emily Watson, takes some of its visual cues from the early color films of nouvelle vague director Jean-Luc Godard. That is not to say that this new Anderson release attempts the heavily intellectual approach Godard was known for. Punch-Drunk Love, promises to be lighter and more straightforward than anything Godard, or even Anderson, has done in the past.
Elswit, who shot all three of Anderson's previous features, explains that the content of the film is more like an early Peter Sellers comedy centered on a main character that we love despite his extensive eccentricity. But the inspiration for the look, he adds, came from Godard's early color films, particularly A Woman is a Woman starring Jean Paul Belmondo, Jean-Claude Brialy, and Anna Karina.
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