Holy Motors Full Press Conference - Cannes Film Festival 2012. Advice for Filmmakers by from Great Directors. Joaquin Phoenix. PHOENIX: Completely. When we were first started, I talked to Paul about Freddie's motivations for doing certain things, and Paul never had an answer for the character. So it was really frustrating in the beginning of the movie. There was nothing solid or consistent about Freddie. But I'm also a slow learner-real slow. So it takes me maybe halfway through the movie before I suddenly figure out one of the major plot points of the entire film. But it's like in the scene where homie starts talking about wrestling a dragon. MITCHELL: It seems like the last few movies you've done—Two Lovers [2008], I'm Still Here, and now, The Master—are all about these guys who kind of don't know where they're going.
PHOENIX: I guess it might just be this period, but I don't know. MITCHELL: Was working with Casey [Affleck] on I'm Still Here enjoyable and the whole experience making that movie? PHOENIX: It was and it wasn't. MITCHELL: Like the Letterman thing? PHOENIX: It's amazing. PHOENIX: Yeah. NYFF '09: Michael Haneke discusses THE WHITE RIBBON. What I have to Offer. 'Hugo' Q&A: Paul Thomas Anderson & Martin Scorsese - Behind the Story + Scorsese being short. Paul Thomas Anderson, The Master's Master - Page 1 - Movies. Weinstein Company Courtesy NewsCom, Alec Michael, Globe Photos, ZUMAPRESS Paul Thomas Anderson once again teams up with Philip Seymour Hoffman (above) in his sixth film.
Details Related Stories More About "We had this idea to do a bit of a road show, because we just didn't know, theatrically, how often we'd be able to play in 70mm," he says, settling into an outdoor table at one of the neighborhood's many Greek bistros. Anderson stumbled upon the format—the ancestor of IMAX—while doing camera tests with his cinematographer, Mihai Malaimare Jr., and felt it was the right fit for the film. "I have to say, it's been great to play there, but it's exciting how many commercial theaters are going to play it in 70," Anderson adds. Anderson yawns, stretches, and runs his hands through his already unkempt hair, which, coupled with his outfit of an open-collared checkered shirt, board shorts, and desert boots, gives him the appearance of a wayward, landlocked surfer. And they're right. “I Don’t Consider That We’re Dealing With A Cult” - Paul Thomas Anderson Talks About 'The Master' At TIFF.
Paul Thomas Anderson’s “The Master” may have already thrilled lucky American audiences at sneak peak pop-up screenings all over the country and in Venice – where it won two of the three major awards including Best Director – but the hypnotic, opaque and much-discussed drama is still the talk of the Toronto International Film Festival. With its star Philip Seymour Hoffman in Venice to receive the prizes on the Lido, Anderson, co-star Amy Adams and producer JoAnne Sellar discussed the film at yesterday’s TIFF press conference (co-lead Joaquin Phoenix was apparently in Toronto, but AWOL from the press conference). Here’s five highlights from the Toronto chat witht the media. While Anderson has acknowledged that Scientology was a jumping off point for the impetus of the film in recent interviews, he wasn’t much interested in talking about it again during TIFF.
“I don’t consider that we’re dealing with a cult,” he remarked. Chart the Evolution of Paul Thomas Anderson's Career In a Decade of 'Charlie Rose' Interviews | Criticwire. Paul Thomas Anderson and Daniel Day-Lewis on the set of "There Will Be Blood. " "The Master" is Paul Thomas Anderson's sixth feature film. "Hard Eight" was his first. For each of the movies between them, Anderson made a promotional appearance on "Charlie Rose;" four interviews about four films over the course of a decade. Watching them all offers not only a lengthy peek into the director's creative process, it also provides one way to measure his evolution as a filmmaker -- and as a man examining and discussing his own work.
Anderson first appeared on "Charlie Rose" in conjunction with "Boogie Nights. " In Part 2, PTA reveals the origins of the Rollergirl character and explains how he would teach a film school class: Did you catch the part where Anderson reveals that he's just 27 years old at the time? In Part 2, Anderson discusses Robert Altman's influence on his work, the role of Aimee Mann's music in his writing, and what he's trying to say about television: Next came "Punch-Drunk Love.
" Paul Thomas Anderson On The Master. Podcast: The Playlist Talks 'The Master' & 'Looper' The podcast returns this week after a long absence. We apologize for the lack of shows, but obviously we've been hella busy. This week, host Erik McClanahan is joined by regular guests Kevin Jagernauth and Rodrigo Perez for reviews of two films from American writer/directors garnering a ton of attention at the moment: "The Master" from Paul Thomas Anderson, and the latest from Rian Johnson, "Looper. " While we mostly avoid spoiler-ish talk about the films, you may want to wait until after you've seen the films to listen to our takes.
And don't forget to chime in with your thoughts on either film. Are they overrated? 20 Minutes Of Deleted Scenes Coming To 'The Master' DVD Plus Watch The John Huston Docs That Inspired The Film. Even if "The Master" isn't quite the breakout hit that "There Will Be Blood" was, it is undeniably one of the most talked about movies of the year. Paul Thomas Anderson's film continues to spur discussions and debates, and conversations are nothing less than passionate. The picture is one whose enigmas last long after the viewing is over, encouraging and demanding a second or third viewing, and luckily for fans, there will be even more to dive into on the forthcoming DVD and Blu-ray release of the film.
Earlier this week, Film Independent at LACMA presented "An Evening With Paul Thomas Anderson," and the filmmaker brought the goods. First off, as he has extensively talked about in the press run for the film, Anderson has cited two wartime documentaries by John Huston as being influences on "The Master" -- "Battle Of San Pietro" and "Let There Be Light" -- and he screened both of them. Undoubtedly, lots more to soon explore. "The Master:" Academy Conversations. Paul Thomas Anderson Q&A - The Master. THE MASTER Press Conference | Festival 2012. The Master: The Los Angeles Times Envelope Screening Series. Authors@Google: Tina Fey. 22 Pixar Story Rules. The Coen Brothers with Noah Baumbach: Where and How to Begin a Film?
Interview: Jacques Audiard | Film | The Observer. Jacques Audiard wears a hat. It's a trilby that, the 57-year-old director says, keeps him warm in the winter and cool in the summer. He was wearing it in the heat of Cannes last May when I first met him, on a blazing roof terrace; and he's wearing it again today, in London, on an autumnal Monday when I catch him smoking his pipe outside the hotel where we're due to meet.
With horn-rimmed glasses, smart jacket and a cravat, he looks a bit like an English gentleman, a bit like Jacques Tati and a bit like a gangster. For a film-maker in the middle of the frenzy of a festival visit in which his film is the hottest ticket, he looks pretty cool. "Cool? Am I cool? " he asks later. Without a doubt, his latest film, Un prophète (A Prophet), is the coolest movie to come out of Europe for many years. A Prophet is indeed that rare thing, a wholly original piece that feels somehow familiar, the sort of thing you've seen before, but never seen done so well. A Prophet will give him that freedom, too.
Elizabeth Banks | Film | Interview. After graduating from the American Conservatory Theater in San Francisco, Elizabeth Banks won an early role in the 1998 independent film Surrender Dorothy, but it wasn’t until 2001 that her gift for bright, unabashed comedy started to become apparent. Her small roles as Paul Rudd’s French-kissing girlfriend in David Wain’s Wet Hot American Summer and as Betty Brant in Spider-Man both led to more prominent parts, including several other Wain and/or Rudd collaborations (Stella, “Wainy Days,” Role Models, the upcoming My Idiot Brother) and recurring appearances throughout the Spider-Man series. Banks had another breakthrough as a flirtatious (and crazy) bookstore clerk in The 40-Year-Old Virgin, which she’s since parlayed into memorable turns in Slither; Invincible; Fred Claus; Definitely, Maybe; and Zack And Miri Make A Porno. A.V. Club: You’re identified mostly as a comedic actress, but lately you’ve appeared in movies like W., The Uninvited, and now this.
Elizabeth Banks: [Laughs.] Q&A: Christopher Nolan Inception. Director Christopher Nolan Photo: Mario Anzuoni/Reuters/Corbis Director Christopher Nolan with Leonardo DiCaprio and Joseph Gordon-Levitt on the set of Inception.Photo by Stephen Vaughan Joseph Gordon-Levitt on the set of Inception.Photo by Stephen Vaughan Leonardo DiCaprio as Cobb in Inception.Photo by Melissa Moseley Director Christopher Nolan on the set of Inception.Photo by Melissa Moseley Leonardo DiCaprio as Cobb in Inception.Photo by Melissa Moseley Leonardo DiCaprio as Cobb in Inception.Photo courtesy of Warner Bros.
Pictures Leonardo DiCaprio as Cobb in Inception.Photo courtesy of Warner Bros. Pictures Leonardo DiCaprio as Cobb and Joseph Gordon-Levitt as Arthur in Inception.Photo courtesy of Warner Bros. PicturesLeonardo DiCaprio as Cobb in Inception.Photo courtesy of Warner Bros. Pictures (Spoiler alert: Details and plot points about Inception follow.) Wired: Inception has such high ambitions. Christopher Nolan: The problem was that I started with a heist film structure.
Martin Scorsese: '3D is liberating. Every shot is rethinking cinema' | Interview | Film | The Observer. "I've always liked 3D," declares Martin Scorsese breezily, his brown eyes twinkling from behind the trademark black-rimmed glasses which seem larger (and more impressively varifocal) in real life. "I mean, we're sitting here in 3D. We are in 3D. We see in 3D. So why not? " He smiles at me like it's the most obvious thing on earth, his face alive with boyish enthusiasm (even though he turned 68 last week), his well-groomed silver-grey hair lending an air of statesmanlike authority. Peeping Tom Production year: 1960 Country: UK Cert (UK): 18 Runtime: 109 mins Directors: Michael Powell Cast: Anna Massey, Carl Boehm, Maxine Audley, Moira Shearer More on this film Raised in Queens and Manhattan's Lower East Side, the son of second-generation Sicilian immigrants (a seamstress and a clothes presser), Scorsese grew up during the first wave of 3D, which threw up titles like House of Wax, Creature from the Black Lagoon and Hitchcock's Dial M for Murder.