Just months after releasing his last film, The Master, Paul Thomas Anderson is set to get behind the camera once again. His next film Inherent Vice, based on the Thomas Pynchon novel of the same title, will reportedly start filming this month having recently received financing from Warner Bros. Joaquin Phoenix will star in a role once earmarked for Robert Downey Jr., as a pot-smoking detective in 1960s Los Angeles who finds himself wrapped up in a labyrinthine crime plot. Anderson’s regular DP, Robert Elswit is also back on board, after taking a hiatus for The Master. Read more below. Read More »
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Paul Thomas Anderson‘s The Master is a dense, intense film that gets better with every viewing. That’s even more obvious now that the Blu-ray has been released. Now, if you so choose, you can replay some of the intense scenes between Joaquin Phoenix, Philip Seymour Hoffman and Amy Adams. You can pause to consider what’s being said. And, in an awesome set of extras, there’s a chance to watch 20 minutes of deleted scenes that give a certain amount of context to some of the film’s less clear narrative points.
Anderson screened this 20-minute reel back in November and we wrote all about it then. Now you can watch the footage online. Read More »
A Thomas Pynchon novel is really, truly headed to the big screen from a reputable director. And that director is Paul Thomas Anderson — what a wonderful world this is!
Anderson took quite a long time to finance, make and release The Master, which hit theaters five years after his previous film, There Will Be Blood. But if there’s any justice, his follow-up to The Master could hit in 2014. Reports now say that he plans to shoot Inherent Vice, based on Pynchon’s novel, this spring. We knew he wanted to shoot the film this year, but we’ll be excited every time the start date gets closer to finalization. That’s quite a shortened turnaround time for the director. Read More »
Posted on Thursday, January 24th, 2013 by Angie Han
It’s not every actor that can steal a scene right out from under Philip Seymour Hoffman’s nose, but in The Master, Joaquin Phoenix did just that. No wonder, then, that director Paul Thomas Anderson is eager to reunite with him on his next movie. Phoenix is now in talks to join Anderson’s Thomas Pynchon adaptation Inherent Vice, replacing long-attached star Robert Downey Jr. Read more about the casting updates after the jump.
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An image recurs throughout The Master: a ship’s wake, white and blue water churning as the camera — really the mind’s eye of the dissolute Freddie Quell — stares not exactly into the past, but into the creation of the past. He fixates at the roil and the churn, staring at nothing rather than directly examine the choices and impulses that created him.
Freddie is an animal; or a sensualist, to be more generous. He does what he feels like doing, and what he feels is visible in every line of his face, and every glint of his wary, shaded eyes. He likes to drink, and he likes to fuck, and he likes to pretend that none of it really matters, and that his impulses have never cost him anything. As Freddie, Joaquin Phoenix channels every bit of his own individual oddness and intensity to create a character that is whole, and unique. Phoenix is an incandescent screen presence.
The Master, Paul Thomas Anderson‘s sixth feature film, is a portrait of Freddie as one half of a whole. It is not a conventional narrative. Such as it is, the plot is barely more than an outline. Designed with sublime attention to detail by regular David Lynch and Terrence Malick collaborator Jack Fisk; scored with nervy yet sweeping themes by Jonny Greenwood; and photographed with exquisite tenderness by Mihai Malaimare Jr., The Master is the rare modern film that feels like the product of old studio craftsmanship.
In moments, Anderson’s new work can be maddening, dull, even vacuous. But subsequent moments can be quietly provocative as the film tries to understand friendships, and relationships that trade in power, and even the nature of faith. The tentative plot is a boon. Free of responsibilities to any standard story structure, Anderson’s characters can circle and dance around one another without concerns about resolving dangling threads. The Master is mesmerizing, and beautiful. Read More »
The Alamo Drafthouse Ritz location in downtown Austin, TX — the same house that is showing a series of films in 70mm all this month — is hosting a benefit screening of Paul Thomas Anderson‘s new film The Master in 70mm. The show is this coming Monday, September 10, at 7:30. To promote the screening, PTA released a clip to the Drafthouse featuring a new, strangely comic scene from the movie.
This clip is just as good as the other materials we’ve seen from the movie, and a bit more vulgar. It shows Joaquin Phoenix‘s character, Freddie Quell, taking a Navy psych evaluation during which he has to evaluate a series of inkblots. He sees pretty much the same thing in every one, which tells us a bit about Freddie’s worldview. Read More »
Posted on Friday, August 31st, 2012 by Angie Han
Confirmed details on Spike Jonze‘s upcoming romance have been pretty sparse, though we’ve known for a while that the cast, at least, would be stellar. Joaquin Phoenix plays the lead, while Samantha Morton, Amy Adams, Rooney Mara, and Olivia Wilde also star. Early word was that Phoenix would play a man who falls in love with a Siri-esque computer voice, but the official synopsis describes something a little bit different. In addition, the film has a new title — Her. Read on after the jump.
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After what feels like years of speculation and waiting, it is exciting that Paul Thomas Anderson‘s latest film, The Master, opens in only a few weeks. The film stars Joaquin Phoenix in a widely praised performance as an ex-Navy man who falls under the spell of the “master” of the title, played by Phillip Seymour Hoffman.
Here’s the last trailer for The Master before that imminent opening, and it features a good amount of new footage. If nothing else, this will give you a great idea of the visual splendor on display — and the film has been on the receiving end of great notes for its look, especially when seen in 70mm — and also of the force of the performances within. Read More »