Let’s not bury the lede here…Radiohead’s new album will be out on Sunday, May 8th at 2pm ET. !!!
The video is by Paul Thomas Anderson for Radiohead’s second single, Daydreaming (buy direct, listen at Spotify, etc.) Why PT Anderson? Radiohead’s Jonny Greenwood did the soundtrack for Anderson’s There Will Be Blood.
Update: In my haste to post this earlier, I forgot that Greenwood has done the music for several of Anderson’s projects, including The Master and Inherent Vice. (thx, all)
When P.T. Anderson submitted the first draft of his script for Boogie Nights, the studio didn’t think too much of it.
Boogie Nights is one of my favorite films. I’m glad Anderson stuck with it.
The fifth track, Spooks, is a variation of a Radiohead song that’s never been officially released. (via @naserca)
Every once in awhile on the site, I’ll use the phrase “in my wheelhouse”, meaning something that is particularly interesting to me. Well, Grantland’s long oral history of the making of Boogie Nights is so in my wheelhouse that I might be the captain.
When [Anderson] set out to film Boogie Nights, it was with a resolve bordering on arrogance. Compromise wasn’t part of the plan. Still, after an intense production and postproduction period — one in which the director had to manage a cranky, confused Burt Reynolds and an untested, rapping underwear model named Mark Wahlberg — Anderson was forced once again to fight studio heads for his cut of the film.
But Anderson’s vision prevailed this time. Nearly 20 years later, Boogie Nights endures. For its beautiful portrait of nontraditional families; for Reynolds and Wahlberg, the surrogate father and son, who were never better; for Philip Seymour Hoffman, squeezing into character and breaking hearts; for its prodigy director sticking to his guns and nailing it; for John C. Reilly’s hot-tub poetry; for Roller Girl. Is everybody ready? This is the making and near unmaking of Boogie Nights.
Man, I love that movie. But think on this: Leonardo DiCaprio as Dirk Diggler, Drew Barrymore as Roller Girl, and Bill Murray as Jack Horner.
I somehow didn’t know or forgot that PT Anderson was doing a movie based on Thomas Pynchon’s Inherent Vice. It turns out he totally is and here’s the first trailer:
That looks entirely goofy and good.
The Wordless Music Orchestra will offer live accompaniment of two screenings of There Will Be Blood in NYC in September. The composer of the film’s score, Radiohead’s Jonny Greenwood, will play a musical instrument called the ondes Martenot as part of the performances.
This fall, the Wordless Music Orchestra will once again collaborate with Jonny Greenwood for the U.S. premiere of There Will Be Blood Live: a full screening and live film score to Paul Thomas Anderson’s 2007 masterpiece, which will be projected onto a massive 50’ movie screen at the historic and absurdly beautiful United Palace Theatre: the second-largest movie screen in all of New York City.
For these shows, the film’s original score — comprising music by Jonny Greenwood, Arvo Part, and Brahms — will be conducted by Ryan McAdams, and performed by 50+ members of the Wordless Music Orchestra, including Jonny Greenwood, who will play the ondes martenot part in both performances of his own film score.
Tickets on sale now. See you there? (thx, gabe)
Jonny Greenwood’s soundtrack for P.T. Anderson’s new film, The Master, came out yesterday. It’s available on MP3 from Amazon ($11) and directly from Nonesuch in MP3 and other formats ($12+). Greenwood previously did the soundtrack for Anderson’s There Will Be Blood.
The teaser trailer for P.T. Anderson’s next film, The Master. Anderson himself cut the trailer — why don’t more director/editors do this?
Written and directed by Academy Award nominee Paul Thomas Anderson (the acclaimed director of, There Will Be Blood, Magnolia and Boogie Nights), this story stars Academy Award winner Philip Seymour Hoffman (Capote) and Academy Award-nominee Joaquin Phoenix (Walk the Line). Set in America in the years following World War II, a charismatic intellectual (Hoffman) launches a faith-based organization and taps a young drifter (Phoenix) as his right-hand man. But as the faith begins to gain a fervent following, the onetime vagabond finds himself questioning the belief system he has embraced, and his mentor. A truly one-of-a-kind drama, which promises magnetic virtuoso performances, the film marks the fifth collaboration between Anderson and Hoffman, following Hard Eight, Boogie Nights, Magnolia, and Punch Drunk Love.
As good as this looks, I’m a wee bit disappointed that this isn’t a PT Anderson-directed documentary style film about Doctor Who’s nemesis. Wouldn’t that be something? (via cigarettes & red vines)
Speaking of Scientology, P.T. Anderson is working on two movies: 1) a film people are calling The Master about a religious movement similar to Scientology, and 2) an adaptation of Thomas Pynchon’s Inherent Vice.
Last December, this blog was the first to report that Anderson had written a treatment of Pynchon’s seventh novel, and was considering doing a screenplay. Now insiders confirm to Vulture that Anderson has, in fact, obtained the blessing of Pynchon and — in frequent consultation with the eremite novelist himself — has not only written a first draft, but is more than halfway done with a second.
Esquire profiles Paul Thomas Anderson, focusing on the director’s early years and how he came to make Cigarettes and Coffee, Hard Eight, and eventually Boogie Nights, which was based on a film he made as a high schooler called The Dirk Diggler Story.
Although Anderson is one of the most autobiographical filmmakers of his generation, drawing heavily on his childhood in the San Fernando Valley, most stories about him offer some variation on “very little is known about his early years” or “little is known about Paul’s childhood.” He has stopped talking to most of his friends from those years, and none of them can say whether he just moved on naturally or broke with his past for some secret reason.
“When he did Magnolia,” Stevens says, “I sent word through someone who worked with him to tell Paul it would be great if he could come back for a visit. I’d love to see him. And the answer came: ‘Paul doesn’t go back.’”
You can watch The Dirk Diggler Story on Google Video.
The milkshake line from There Will Be Blood came from a transcript that PT Anderson found of the 1924 congressional hearings over the Teapot Dome scandal.
Anderson concedes that he’s puzzled by the phenomenon — particularly because the lines came straight from a transcript he found of the 1924 congressional hearings over the Teapot Dome scandal, in which Sen. Albert Fall was convicted of accepting bribes for oil-drilling rights to public lands in Wyoming and California.
In explaining oil drainage, Fall’s “way of describing it was to say ‘Sir, if you have a milkshake and I have a milkshake and my straw reaches across the room, I’ll end up drinking your milkshake,’ ” Anderson says. “I just took this insane concept and used it.”
(via observations on film)
Daniel Day-Lewis is flat-out amazing in this film; I can’t think of when I’ve seen a better performance. But with this movie and No Country For Old Men, both of which top many people’s lists of the best movies of 2007, I found them really good but not great. Not sure why. Maybe I’ll have better luck with Juno or The Diving Bell and the Butterfly.
Tucked in among The Kinks, The Velvet Underground and Belle & Sebastian, the track behind the animated opening title sequence for the new movie Juno is All I Want is You by the children’s folk musician Barry Louis Polisar. It’s as inspired a choice for this enjoyable little movie as PT Anderson’s inclusion on the Punch Drunk Love soundtrack of He Needs Me (iTunes link), Olive Oyl’s love song from Robert Altman’s 1980 adaptation of Popeye.
Polisar was a favorite of mine as a kid. In particular, the 1978 album Naughty Songs for Boys and Girls was my undisputed favorite record. Featuring the classics Don’t Put Your Finger Up Your Nose and Never Cook Your Sister in a Frying Pan, the album has never gone out of print. Give the tracks a listen on iTunes and if you have kids, this will give them lots of laughs and teach them to rebell against their parents.
Update: My favorite funnyblogger Todd Levin chimes in on the Juno soundtrack at tremble.com.
Early rave review for There Will Be Blood, the new PT Anderson/Daniel Day-Lewis film, calling it “maybe one of the best movies I’ve ever seen”.
Without revealing much of the plot (it’s probably better to go in cold), it’s a complex man’s simple story rendered hugely, horribly, and wonderfully in equal measure, and it’s revelatory as hell.
Trailer for There Will Be Blood, the highly anticipated film from PT Anderson starring Daniel Day-Lewis.
In P.T. Anderson’s Punch-Drunk Love, Adam Sandler’s character takes advantage of a Healthy Choice promotion for frequent flier miles, buying 1000s of miles and lots of pudding for just a few dollars. This aspect of Sandler’s character was based on a caper well-known within the frequent flier community when David Phillips purchased over 1.2 million frequent flyer miles for just under $2400, which has allowed him and his family to fly to over 20 countries for free.
Now the big thing is cheese. This weekend I was handed an opened wheel of processed cheeses by a friend. He said that his brother-in-law had caught wind of a frequent flyer promotion whereby you get 500 miles for each purchase of this cheese wheel and had purchased 75,000 miles for ~$300, which also means he’s got more opened cheese wheels than he knows what to do with. The frequent flyer forums and blogs are already on the case. These forums are actually pretty fascinating…there’s a lot of free/cheap travel to be had for those with a little time on their hands. This fellow claims to have taken advantage of airline pricing errors to fly 16 flights this year for a total cost of $77.57.
Why does it take Wes Anderson (and Sofia Coppola and Spike Jonze and PT Anderson and…) so long to make a movie? “The Eccentrics seem to be guarding their personal ideas so jealously that it sometimes suggests a creative block. The eternity of anticipation has frustrated those film lovers who look to certain artists to provide the Great American Movie.” Slate also has a review of Wes Anderson’s great Amex commerical.