One of the recent rumors we heard about Paul Thomas Anderson‘s new film, once called The Master and said to be influenced by the development of Scientology, was that the director’s longtime cinematographer, Robert Elswit, would not shoot the film. Scheduling is likely the issue, as Mr. Elswit is booked to shoot other projects.

Now we have confirmation of that fact, along with the news that the cinematographer for this project is Mihai Malaimare Jr., who shot recent Francis Ford Coppola pictures such as Tetro and Twixt Now and Sunrise. In addition, the rumor that part of the film will be shot on 65mm continues. Read More »

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Over three years have passed since the release of Paul Thomas Anderson‘s last film, There Will Be Blood, and we’re at the point now where any shred of news on his future projects is of interest to someone. We know that he is prepping two films, an adaptation of the Thomas Pynchon novel Inherent Vice and a film about a religious/cult leader that has been dubbed The Master. Slight casting movement on The Master (perhaps better called the Untitled Paul Thomas Anderson Religious Film) suggests that is the movie that he’ll shoot next.

And now a report pushes forward the idea that the director is getting closer to shooting something, and that he might use the same Super Panavision 70 cameras that were used to shoot 2001 and parts of Inception. Read More »

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If it wasn’t for the blasé title, Duplicity might have a more pronounced blip on 2009 movie radars. Director Tony Gilroy‘s debut, Michael Clayton, scored seven Oscar noms, including Best Picture and Best Director, and the cast to his follow-up is of similar caliber, with Billy Bob Thornton and Tom Wilkinson now joining Clive Owen and Julia Roberts in the thriller about the pharmaceutical industry, modern greed and espionage.

However, the casting does sensically play into the title, with Thornton and Wilkinson in the roles of rivaling CEOs for massive drug companies and Owen and Roberts the opposing spies they set in motion in a race to obtain an invaluable “innovation.” Like Clayton, the film was written by Gilroy, and it’s good to see Wilkinson and the director working together again so soon after the former’s deserved Best Supporting Actor nom.

No word on whether Duplicity‘s characters will stealthily cruise around in 2009 Mercedes-Benzs, but I’d count on it; returning cinematographer Robert Elswit (There Will Be Blood) can shoot a luxury automobile like it’s the second coming, and even make light reflect off the hood like existential drizzle.

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