Alma kamal pta catalogue

Film Festival Catalogue

6 10 16 20 24 28 40 50 60 70 86 101 104 110 112 114

Festival Concept Dates & Location Things to Do Places to Eat Places to Stay

Boogie Nights Magnolia Punch-Drunk Love There Will Be Blood The Master Inherent Vice

About Filmography Awards Interview Random Facts

The Director

The Films

The Festival

ACT. 1

ACT. 2

ACT. 3

DAMAGED GOODS Biography Filmography

Trivia

Awards & Nominations Interview

Wounded souls in search of self and family re-creation in the most unlikely places

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Director June 26 – 28

Film Festival, 2017

Act. 01

Paul Thomas Anderson

The

DAMAGED GOODS

Anderson was born in 1970. He was one of the first of the “video store” generation of film-makers. His father was the first man on his block to own a V.C.R., and from a very early age Anderson had an infinite number of titles available to him. While film-makers like Spielberg cut their teeth making 8 mm films, Anderson cut his teeth shooting films on video and editing them from V.C.R. to V.C.R. Part of Anderson’s artistic D.N.A. comes from his father, who hosted a late night horror show in Cleveland. His father knew a number of oddball celebrities such as Robert Ridgely, an actor who often appeared in Mel Brooks’ films and would later play “The Colonel” in PTA’s Boogie Nights (1997). Anderson was also very much shaped by growing up in “The Valley”, specifically the suburban San Fernando Valley of greater Los Angeles.

The Valley may have been immortalized in the 1980s for its mall-hopping “Valley Girls”, but for Anderson it was a slightly seedy part of suburban America. You were close to Hollywood, yet you weren’t there. Would-bes and burn-outs populated the area. Anderson’s experiences growing up in “The Valley” have no doubt shaped his artistic self, especially since three of his four theatrical features are set in the Valley.

Wounded souls in search of self and family re-creation in the most unlikely places

Anderson got into film-making at a young age. His most significant amateur film was The Dirk Diggler Story (1988), a sort of mock-documentary a la This Is Spinal Tap (1984), about a once-great pornography star named Dirk Diggler. After enrolling in N.Y.U.’s film program for two days, Anderson got his tuition back and made his own short film, Cigarettes & Coffee (1993). He also worked as a production assistant on numerous commercials and music videos before he got the chance to make his first feature, something he liked to call Hard Eight (1996), but would later become known to the public as “Hard Eight”.

The film was developed and financed through The Sundance Lab, not unlike Quentin Tarantino’s Reservoir Dogs (1992). Anderson cast three actors whom he would continue working with later: Altman veteran Philip Baker Hall, the husky and lovable John C. Reilly and, in a small part, Philip Seymour Hoffman, who so far has been featured in all four of Anderson’s films. The film deals with a guardian angel type (played by Hall) who takes down-on-his-luck Reilly under his wing. The deliberately paced film featured a number of Anderson trademarks: wonderful use of source light, long takes and top-notch acting. Yet the film was reedited (and retitled) by Rysher Entertainment against Anderson’s wishes. It was admired by critics, but didn’t catch on at the box office. Still, it was enough for PTA to eventually get his next movie financed.

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June 26 – 28 Film Festival, 2017

Act. 01

Paul Thomas Anderson

American film director, producer and screenwriter PTA is best known for his box office hits such as Boogie Nights

DAMAGED GOODS

P Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Film Festival, 2017

Act. 01

Paul Thomas Anderson

“Boogie Nights” was, in a sense, a remake of “The Dirk Diggler Story”, but Anderson threw away the satirical approach and instead painted a broad canvas about a makeshift family of pornographers.

The film was often joyous in its look at the 1970s and the days when pornography was still shot on film, still shown in theatres, and its actors could at least delude themselves into believing that they were movie stars. Yet “Boogie Nights” did not flinch at the dark side, showing a murder and suicide, literally in one (almost) uninterrupted shot, and also showing the lives of these people deteriorate, while also showing how their lives recovered.

Anderson not only worked with Hall, Reilly and Hoffman again, he also worked with Julianne Moore, Melora Walters, William H. Macy and Luis Guzmán. Collectively, Anderson had something that was rare in U.S. cinema: a stock company of top-notch actors. Aside from the above mentioned, Anderson also drew terrific performances from Burt Reynolds and Mark Wahlberg, two actors whose careers were not going full-blast at the time of “Boogie Nights”, but who found themselves to be that much more employable afterwards.

A

Filmography

DAMAGED GOODS

Line Thickness (amount of work produced that year) Color (movie)

1988 (Short) (as Paul Anderson) The Dirk Diggler Story

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Film Festival, 2017

Act. 01

2012

Paul Thomas Anderson

The Master

2014 2007 2002

Inherent Vice

There Will Be Blood

Punch-Drunk Love

1993

1996

1997

1998

1999

2000

2001

2003

2013

2015

2016

(Short) (as Paul Anderson) Cigarettes & Coffee

Hard Eight

(Video short) Michael Penn: Try

(Video short) Fiona Apple: Across the Universe

(Video short) Aimee Mann: Save Me

(Video short) Fiona Apple: Paper Bag

(Video short) Blossoms & Blood

(Video short) Back Beyond

(Video short) Joanna Newsom: Divers

(Video short) Radiohead: Daydreaming

(Video short) Fiona Apple: Fast as You Can

(TV Series) (1 episode) Saturday Night Live

(segment “Fanatic”) Saturday Night Live: The Best of Molly Shannon

(Video short) Back Beyond Mattress Man Commercial

(Video short) Fiona Apple: Hot Knife

(Video short) Joanna Newsom: Sapokanikan

(Video short) Radiohead: Present Tense

Boogie Nights

(Video short) Flagpole Special

Magnolia

(segment “Fanatic”) Ben Affleck/Fiona Apple (TV short) SNL Fanatic (Video short) Fiona Apple: Limp

(TV short) Couch

(Documentary)

Junun

(Video short) Present Tense: Jonny, Thom & a CR78 (Video short) Untitled Paul Thomas Anderson Fashion Project

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Act. 01

Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS

Short Films Can Be a Good Way to Get Started

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Act. 01

Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS

Golden Bear 2000 · Magnolia Cannes Best Director Award 2002 · Punch-Drunk Love Silver Bear for Best Director 2008 · There Will Be Blood

London Film Critics’ Circle Award for Director of the Year 2007 · There Will Be Blood

Toronto Film Critics Association Award for Best Screenplay 1999 · Magnolia

Toronto Film Critics Association Award for Best Director 2002, 1999 · Punch-Drunk Love, Magnolia

San Diego Film Critics Society Award for Best Adapted Screenplay 2007 · There Will Be Blood

National Society of Film Critics Award for Best Director 2008 · There Will Be Blood

Toronto Film Critics Association Award for Best Film 1999 · Magnolia

Silver Lion for Best Director 2012 · The Master

Amanda Award for Best Foreign Feature Film 2008 · There Will Be Blood

Independent Spirit Robert Altman Award 2015 · Inherent Vice Bodil Award for Best American Film 2009 · There Will Be Blood Los Angeles Film Critics Association Award for Best Director 2007 · There Will Be Blood

Wounded souls in search of self and family re-creation in the most unlikely places

PEN USA Literary Award for a Screenplay 2008 · There Will Be Blood FIPRESCI Film of the Year 2008 · There Will Be Blood Kansas City Film Critics Circle Award for Best Director 2008 · There Will Be Blood, The Diving Bell and the Butterfly

Reader Jury of the “Berliner Zeitung” 2000 · Magnolia British Independent Film Award for Best Foreign Independent Film— English Language 1998 · Boogie Nights Chlotrudis Award for Best Director 2008, 2003 · There Will Be Blood, Punch-Drunk Love San Diego Film Critics Society Award for Best Director 2007 · There Will Be Blood

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Awards

June 26 – 28 Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Act. 01

Film Festival, 2017

Paul Thomas Anderson

Interview

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

Paul Thomas Anderson Reveals Secrets of Stoner Odyssey ‘Inherent Vice’

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June 26 – 28 Film Festival, 2017

Act. 01

Paul Thomas Anderson

Paul Thomas Anderson likes to take his time. Ask the 44-year-old director of Inherent Vice about adapting Thomas Pynchon’s 2009 stoner-noir novel—in which a hippie-dippy private detective tangles with all sorts of Seventies Southern California types—or what he remembers about growing up in the Me Decade, and Anderson will thoughtfully stare out the window of his hotel’s lounge. He’ll run his hand over his gray-flecked beard, gently tap his coffee spoon.

Eventually, he’ll smile widely and launch into an anecdote about the time he got his “weiner” caught in a white jumpsuit’s zipper when he was a kid.

Do you remember the first time Pynchon’s work came across your radar?

It’s a little messy up here, but I think I tried to tackle Gravity’s Rainbow first, based on its reputation. I would not advise people to start with that one [laughs]. So then I reached for a thinner one, The Crying of Lot 49, and that just got me hungry for more. I remember hearing Pynchon’s name in high school, but I was a slow reader and a really slow learner. The schools I went to were very academic, and you were expected to be as smart as everyone else. I just wasn’t moving at that pace.

But by my senior year, I started becoming serious about reading because it wasn’t a contest anymore, and that’s when Lot 49 and V. just f loored me.

What was it about his writing that grabbed you?

It’s funny, I’ve been thinking about that a lot lately, because I have such a different relationship with his writing now that I’ve gone through this experience. I mean, it’s challenging, which is fun.

His writing… it just lifts me out of my seat. I read Vineland a couple of months ago, and there were sections where I felt like I was just floating. I got a high out of it.

Weren’t you originally thinking about adapting Vineland or Mason & Dixon before tackling Inherent Vice?

Well, no. I think I just said that in an interview.

I never tried, really. They’re very difficult books.

I mean, the story he tells of Mason and Dixon, of that line being cut through the Earth, has never been told in a movie. That would be a great one to

do, though—maybe Lifetime or A&E could make it.

Shit, I’d watch it! But Vineland? It’s just too intimidating. My brain’s not big enough.

Did you have a lot of discussions with Joaquin Phoenix about playing “Doc” Sportello, or did you just sort of turn him loose?

Those conversations didn’t really have to happen, because the book was so gigantic, and it was so clear who this guy was. But there’s this documentary on Daniel Ellsberg, called The Most Dangerous Man in America. There’s a great picture of a buddy of his who has this great set of glasses, a floppy hat and these mutton chops. I took a still frame from that and I sent it to him, along with the omnibus collection of The Fabulous Furry Freak Brothers comic, by Gilbert Shelton—and that’s probably the most we really talked about it.

Would you say he’s the type of actor to give you something new in every take?

Yeah! He’s like a dog that will fetch the ball over and over and over again. You can throw it down the cliff, you can throw it into the snow, you can throw it in the ocean, and he will go get the ball and bring it back. And he will curl up in your lap and keep you warm by the fire. He’s the best dog I’ve ever had. [Pauses] That’s going to be your pull quote, isn’t it? “Joaquin Phoenix is the best dog I’ve ever had” [laughs].

Did it take you a while to figure out how to talk to actors, or was that something that came naturally to you from the get-go?

I was always hanging out with the actors. I was never the guy hanging around the special-effects crew, talking about blowing stuff up. I was lucky in that my first feature, Hard Eight, I was working with John C. Reilly, Philip Baker Hall, Sam Jackson and Gwyneth Paltrow—they taught me a lot. I remember hearing them discuss frustrating situations they’d been in on other films—being over-directed or how the sets were so loud… the worst thing in the world is when there’s an assistant director who screams right before a take, “Everybody quiet! This is a very emotional scene!”

What do you think of the state of movies today?

Do you feel like the complaints about American film-making being nothing but superhero movies…

Ah, that’s such a fucking crock of shit. I can’t remember a year in recent memory where there were less complaints about the quality of movies.

And what’s wrong with superhero movies, you know? I don’t know. You’re talking to someone that enjoys watching those films. People need to get a life if they’re having that discussion [laughs].

Those movies get a bad rap.

You grew up in a big family. Did you ever think that might be why you gravitate to making ensemble movies and why you’re so comfortable on film sets?

Oh, absolutely. There is comfort for me in large groups of people making tons of noise. A film set… that’s like Christmas morning to me. Yeah, if things are too quiet, I get a little nervous.

DAMAGED GOODS

I've never been a fan of whimsical or confusing storytelling.

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Film Festival, 2017

Act. 01

Paul Thomas Anderson

—PTA

DAMAGED GOODS

Random

Dropped out of NYU’s film program after two days. Subsequently got his tuition payment back and used the money to make Cigarettes & Coffee (1993).

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Act. 01

Film Festival, 2017

Paul Thomas Anderson

For the brief time he was at NYU film school, he handed in some of Pulitzer Prize-winner David Mamet’s work as his own.

When he got it back with a “C” grade he decided to leave.

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4

5

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1

Boogie Nights Magnolia PunchDrunk Love There Will Be Blood The Master Inherent

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

The

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June 26 – 28 Act. 01

Film Festival, 2017

Paul Thomas Anderson

R | 2h 35min | Drama

DAMAGED GOODS

Boogie Nights Wounded souls in search of self and family re-creation in the most unlikely places

1997

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June 26 – 28 Film Festival, 2017

Act. 02

Paul Thomas Anderson

Synopsis

Cast

Writer: Paul Thomas Anderson Stars: Mark Wahlberg, Julianne Moore, Burt Reynolds

Adult film director Jack Horner is always on the lookout for new talent and it’s only by chance that he meets Eddie Adams who is working as a busboy in a restaurant. Eddie is young, good looking and plenty of libido to spare. Using the screen name Dirk Diggler, he quickly rises to the top of his industry winning awards year after year. Drugs and ego however come between Dirk and those around him and he soon finds that fame is fleeting.

DAMAGED GOODS

After seeing a rough cut of the film, Burt Reynolds regretted making it and fired his agent for recommending the role to him. Reynolds ended up winning a Golden Globe and being nominated for an Academy Award for his performance.

Leonardo DiCaprio was originally offered the role of Dirk Diggler. He liked the screenplay, but turned it down because he had already signed on to do Titanic (1997).

DiCaprio suggested Mark Wahlberg for the role.

According to William H. Macy, his agent discouraged him from reading the script. Macy read the script, loved it, and signed on to do the film.

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Act. 02

∞ BOOGIE NIGHTS Technical Specs

Runtime 2 hr 35 min (155 min) Sound Mix Dolby Digital | SDDS Color Color Aspect Ratio 2.35 : 1 Camera Moviecam Compact, Panavision C-Series Lenses Panavision Panaflex Gold, Panavision C-Series Lenses Laboratory DeLuxe, Hollywood (CA), USA (also prints) Film Length 4,338 m (8 reels) Negative Format 16 mm (70s porno) 35 mm (Eastman EXR 100T 5248) Video (NTSC) (80s porno) Cinematographic Process Panavision (anamorphic) Printed Film Format 35 mm

The notorious murder-suicide scene was originally intended to be much more violent and graphic than what was shown.

Dirk’s first character is named John, a reference to real-life porn legend John Holmes, upon whom Dirk’s character was based. Dirk mentioned that he had just came back from the Marines; Holmes spent some time in the Army.

The movie was banned in South Korea until 1999.

Dirk Diggler’s habit of preparing for his scenes in the bathroom is based on John Holmes, who said he liked to rehearse in bathrooms because “it’s usually the only room in the house that has a lock on the door”.

The character Johnny Doe’s name is a homage to reallife porn actor Jon Dough.

In the beginning of the movie when Jack Horner first notices Eddie, there are “stars” in the background.

Amber Waves' custodial problems were inspired by porn star Veronica Hart, who plays the judge during the scene in which Amber and her husband are arguing in court about their son.

Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Act. 02

Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS

An Actor Whose Talents Are the Sum of His Parts

—Janet Maslin, NY Times

Wounded souls in search of self and family re-creation in the most unlikely places

King of Comedy,’’ he gives the role an extra edge by playing a swaggering, self-important figure very close to the bone.

In the disco on that first night, Jack’s eyes alight on a busboy named Eddie, whom he pronounces ‘’a 17-year-old piece of gold.’’ Eddie, who has already Everything about ‘’Boogie Nights’’ is interestingly learned to peddle himself to $10 customers, will unexpected, even the few seconds of darkness soon become Jack’s new star, thanks to his excepbefore the film’s neon title blasts onto the screen. tional anatomy, about which he says, ‘’Everyone’s The director, Paul Thomas Anderson, whose display blessed with one special thing.’’ of talent is as big and exuberant as skywriting, The movie’s special gift happens to be Mark Wahlberg, seems to mean this as a way of telling viewers to who gives a terrifically appealing performance in brace themselves. Good advice. this tricky role. Mr. Wahlberg must do many Some of the most distinctive American films of recent things here: attract all the film’s other characters, years—‘’Pulp Fiction,’’ ‘’The People vs. Larry Flynt,’’ rise credibly from naive kid to arrogant cokehead, ‘’L.A. Confidential’’ and now this one—have behave as if he thinks Dirk Diggler (Eddie’s nom invoked a sleaze-soaked Southern California as an de porn) is a really grand name. He does all this evilly alluring nexus of decadence and pop culture. with captivating ingenuousness and not a single ‘’Boogie Nights’’ further ratchets up the raunchifalse move. ness by taking porn movies and drug problems Eddie’s room in his parents’ unhappy home is coventirely for granted, and by fondly embracing a ered with posters: bathing beauties, sports cars, collection of characters who do the same. martial arts, all the elements of his particular The film’s unofficial family group is immersed in American dream. The movie’s first hour watches exploitation movies, which becomes the same him attain all this during the course of a hot, collective eccentricity that country music was meteoric rise. Mr. Anderson has great fun with the for ‘’Nashville.’’ Mr. Anderson, who begins his mundaneness of his porn filmmakers, who remain film spectacularly with a version of the great unflappable almost all of the time, except for when Copacabana shot from ‘’Goodfellas,’’ has no they first see Eddie take off his pants. qualms about borrowing from the best. ‘’Boogie Nights’’ doesn’t depict much nudity or sex As the camera roams with incredible agility (except during a lengthy sequence showing through a disco in the San Fernando Valley (in a Eddie’s first movie scene), but does make its point long, bravura shot that Mr. Anderson apparently with sly, expert reaction shots of crew members rehearsed and filmed in a single night), the movie watching Eddie, um, act. Among his colleagues: introduces all of its major characters with thrillJulianne Moore, wonderful as the vaguely lost soul ing ease. The godfather of this motley group is Jack whom Jack has transformed into a porn queen (her Horner, porn auteur. (‘’Before you turn around studiously bad acting in movie-making scenes is you’ve spent maybe 20, 25, 30 thousand dollars on perfect); Don Cheadle as the aspiring cowboy who a movie!’’) Burt Reynolds rises to this occasion is much too nice for porn stardom; William H. by giving his best and most suavely funny perforMacy, in a wig borrowed from the Partridge Family, mance in many years. Like Jerry Lewis in ‘’The as the crew member whose wife enjoys embarrassing him most unmistakably; Philip Seymour Hoffman as Eddie’s most ardent admirer; Robert Ridgely as the shady financier who, like Jack Horner, is so excited by young talent; Ricky Jay as the unflappable cameraman, and John C. Reilly as Eddie’s main sidekick in this wild new world.

Mr. Reilly had a major role in ‘’Hard Eight,’’ the 27-year-old director’s only previous feature, which was slow and stagy in ways that gave no inkling of this. The film, which begins in 1977 (just in time for a dancing ‘’Saturday Night Fever’’ homage), casually incorporates such milestones as Dirk Diggler’s virtual baptism in a hot tub and the New Year’s Eve gunfire that ends the 1970’s with a bang. Then it’s downhill, as video changes the porn world, and drugs transform its stars.

On the night when Eddie literally runs out of gas, Alfred Molina embodies total drug insanity as a rich, out-of-control freebaser who is the target of a robbery attempt. His meltdown announces once and for all, in a movie full of show-stopping party sequences, that the party’s over.

Yet the film’s many intimations of how badly this bubble will burst, in a story drawn loosely from the career of the porn star John Holmes, never really coalesce. And since Mr. Anderson shows no interest in passing judgment on his characters, the film’s extravagant 2-hour 32-minute length amounts to a slight tactical mistake. ‘’Boogie Nights’’ has no trouble holding interest; far from it.

But the length promises larger ideas than the film finally delivers.

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June 26 – 28 Act. 02

Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

≈ BOOGIE NIGHTS Soundtracks

Written by

Perfomed by

Credits

Best of My Love

Maurice White & Al McKay

The Emotions

Courtesy of Columbia Records

Sunny

Bobby Hebb

Boney M.

Courtesy of BMG Ariola Hamburg

Jazz Theme From Sweet (The Sage)

Chico Hamilton & Fred Katz

The Chico Hamilton Quintet

Courtesy of Blue Note

Fly, Robin, Fly

Stephan Prager & Sylvester Levay

Silver Convention

Edition Butterfly / Roswitha Kunze

Joy

Uncredited

Apollo 100

Courtesy of Start Audio & Video Ltd.

Off the Road

Uncredited

Richard Gilka

Associated Production Music

Jungle Fever

Bill Ador

The Chakachas

Courtesy of PolyGram Records NV

Afternoon Delight

Bill Danoff

Starland Vocal Band

Courtesy of Cherry Lane Music Publish.

Mama Told Me Not to Come

Randy Newman

Three Dog Night

Courtesy of MCA Records

Brand New Key

Melanie (as M. Safka)

Melanie

Courtesy of MCA Records / BMG

Lonely Boy

Andrew Gold

Andrew Gold

Courtesy of Elektra Enter. Group

Spill the Wine

Howard E. Scott

War with Eric Burdon

Courtesy of Avenue Entertainment

Fatman

Ian Anderson

Jethro Tull

Courtesy of Chrysalis Records

Fooled Around and Fell in Love

Elvin Bishop

Elvin Bishop

Courtesy of Polydor Records

I Want to Be Free

Ralph Middlebrooks

Ohio Players

Courtesy of Mercury Records

You Sexy Thing

Errol Brown

Hot Chocolate

Courtesy of EMI Records

Machine Gun

Milan Williams

The Commodores

Courtesy of Motown Record Co, L.P.

Boogie Shoes

Harry Wayne Casey & Richard Finch

KC & The Sunshine Band

Courtesy of Rhino Entertainment Co.

Craft Service Theme

Jon Brion

Jon Brion, Brian Kehew & Robin Sharp

Uncredited

Magnet & Steel

Walter Egan

Walter Egan

Columbia Records / Vault Vision Mng.

J. P. Walk

Anton Scott

Sound Experience

Courtesy of Soulville Records

Got to Give It Up

Marvin Gaye

Marvin Gaye

Courtesy of Motown Record Co, L.P.

Ain’t No Stoppin Us Now

Gene McFadden & John Whitehead

McFadden & Whitehead

Courtesy of Philadelphia Inte.l Records

Driver’s Seat

Paul Roberts

Sniff ‘n The Tears

Courtesy of Ace Records Ltd.

Feel Too Good

Roy Wood

The Move

TRO-Muscadet Productions

Do Your Thing

Charles Wright

The Watts 103rd Street Rhythm Band

Courtesy of Warner Bros. Records Inc.

Disco Fever

Uncredited

Roger Webb

Courtesy of OGM Production Music

Flying Object

Uncredited

Roger Webb

Courtesy of OGM Production Music

Data World

Uncredited

Ole Georg

Courtesy of OGM Production Music

Queen of Hearts

Hank DeVito

Juice Newton

Courtesy of Capitol Nashville

It’s Just a Matter of Time

Clyde Otis & Brook Benton

Brook Benton

Courtesy of Mercury Records

The Touch

Lenny Macaluso & Stan Bush

Mark Wahlberg

Uncredited

Feel the Heat

Paul Thomas Anderson & John C. Reilly

Mark Wahlberg & John C. Reilly

Uncredited

Compared to What

Gene McDaniels

Roberta Flack

Courtesy of Atlantic Recording Corp.

Jessie’s Girl

Rick Springfield

Rick Springfield

Courtesy of the RCA Records

Sister Christian

Kelly Keagy

Night Ranger

Courtesy of MCA Records

God Only Knows

Brian Wilson & Tony Asher

The Beach Boys

Courtesy of Capitol Records

99 Luftballons

Uwe Fahrenkrog-Petersen

Nena

Courtesy of Epic Records

Livin’ Thing

Jeff Lynne

Electric Light Orchestra

Courtesy of Jet / Epic Records

Voices Carry

Michael Hausman & Aimee Mann

Til Tuesday

Uncredited

N. ¹ N. ² N. 3 N. 4 N. 5 N. 6 N. 7 N. 8 N. 9 N. ¹⁰ N. ¹¹ N. ¹² N. ¹³ N. ¹⁴ N. ¹⁵ N. ¹⁶ N. ¹⁷ N. ¹⁸ N. ¹⁹ N. ²⁰ N. ²⁰ N. ²¹ N. ²² N. ²³ N. ²⁴ N. ²⁵ N. ²⁶ N. ²⁷ N. ²⁸ N. ²⁹ N. ³⁰ N. ³¹ N. ³² N. ³³ N. ³⁴ N. ³⁵ N. ³⁶ N. ³⁷ N. ³⁸ N. ³⁹

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June 26 – 28 Act. 02

Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Act. 01

Film Festival, 2017

Paul Thomas Anderson

R | 3h 8min | Drama

DAMAGED GOODS

1999

Cast

Writer: Paul Thomas Anderson

Magnolia

Stars: Tom Cruise, Jason Robards, Julianne Moore

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Film Festival, 2017

Act. 02

Synopsis

Paul Thomas Anderson

∞ MAGNOLIA Technical Specs

24 hours in L.A.; it’s raining cats and dogs. Two parallel and intercut stories dramatize men about to die: both are estranged from a grown child, both want to make contact, and neither child wants anything to do with dad. Earl Partridge’s son is a charismatic misogynist; Jimmy Gator’s daughter is a cokehead and waif.

A mild and caring nurse intercedes for Earl, reaching the son; a prayerful and upright beat cop meets the daughter, is attracted to her, and leads her toward a new calm. Meanwhile, guilt consumes Earl’s young wife, while two whiz kids, one grown and a loser and the other young and pressured, face their situations.

The weather, too, is quirky.

Runtime 3 hr 8 min (188 min) Sound Mix Dolby Digital | SDDS | DTS Color Color Aspect Ratio 2.35 : 1 Camera Pathe Hand Crank Model 1909 (partly) Panavision Cameras and Lenses Laboratory DeLuxe, Hollywood (CA), USA (prints) Negative Format 35 mm (Eastman Double-X 5222, Plus-X 5231, EXR 100T 5248, Kodak Vision 500T 5279) Cinematographic Process Spherical (partly) Panavision (anamorphic) Printed Film Format 35 mm

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

Thomas Anderson said this was Claudia was the first character Paul his favorite film of his own at the time created, the other characters of release.

This was originally supposed to be a were branched off from her. short film. But the more Paul Thomas Anderson worked on the characters Paul Thomas Anderson wrote the more intricate it became. So the the bulk of the script during plot expanded from there. two weeks he spent at William Every time we see Donnie (William H. Macy) in his car, the same song is playH. Macy’s Vermont cabin— ing on the radio (“Dreams” by UK artist afraid to go outside because Gabrielle).

The title “Magnolia” not only refers to he’d seen a snake.

Magnolia Blvd in LA, where much of the movie takes place, but is also similar Exodus 8:2 is alluded to over to the term Charles Fort (who is refera hundred times throughout enced many places in this movie) coined for a hypothetical region where the movie. things that fall from the sky come The story about the man being from—“Magonia.” story of the scuba diver killed by a gunshot while fall- The being dropped from an airplane is ing off a building has for years a debunked urban legend.

Director/writer Paul Thomas Anderson been used as a hypothetical also designed the poster and cut the case in criminal law classes to trailers for the film.

In every living room there is a picture illustrate causation. of a flower on the wall.

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DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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nfuse children No, it is not dangerous to coJune 26 – 28 with angels.

Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS

Entangled Lives on the Cusp of the Millennium

—Janet Maslin, NY Times

Wounded souls in search of self and family re-creation in the most unlikely places

The great uh-oh moment in Paul Thomas Anderson’s ‘’Magnolia’’ occurs about two-thirds of the way through this artfully orchestrated symphony of L.A. stories. A song bursts out: it is heard first from one character, then from another, until all the film’s assorted lost souls are brought together by a single anxiety-ridden refrain. ‘’It’s not… going to stop,’’ each one sings resignedly, signaling the approach of an impending group meltdown.

But the effect is less that of a collective shiver than of directorial desperation.

Until that point, the colossally talented Anderson has seemed bound for glory. He has set up another Altmanesque swirl of intersecting stories, much as he did in ‘’Boogie Nights,’’ with many of the same cast members again assembled to form a charismatic ensemble. He has glided the film gracefully among seemingly unrelated episodes, keeping the viewer eager for all the pieces to fall into place.

And he has begun the film with a paean to outrageously wild twists of fate, so that his own film’s whopper coincidences won’t seem too much of a stretch.

And to the same ‘’Nashville’’ echoes that reverberated through ‘’Boogie Nights,’’ he now adds a potent touch of ‘’Network.’’ In the San Fernando Valley, on the verge of the new millennium, the effects of media poisoning are powerfully felt. From the dying television mogul to the schoolboy quiz show star who can’t take any more pressure (Jeremy Blackman), virtually everyone in the film is a casualty of pop cultural malaise in some fashion.

Movie Review

The present day, seen as if from a great distance, appears to have brought the dire warnings of the ‘’Network’’ madman Howard Beale to fruition.

Stepping into the ‘’Network’’ role of soothsayer, Anderson leaves himself poised to wonder what’s next.

But when that group sing-along arrives, ‘’Magnolia’’ begins to self-destruct spectacularly. It’s astonishing to see a film begin this brilliantly only to torpedo itself in its final hour. All along, Anderson has leapt from episode to episode as if working under the spell of some larger vision. But as the desperate reach for some larger meaning begins, the sheer arbitrariness of his approach is laid bare.

So bare, in fact, that when ‘’Magnolia’’ finally does come in for what is quite literally an amphibious landing, it actually invokes a biblical plague to create a sense of resolution. Even in the Bible, that kind of maneuver was a last resort.

Named for, among other things, a thoroughfare in Anderson’s native San Fernando Valley, and conceived with a many-petaled structure, ‘’Magnolia’’ is still too good to be missed. What Anderson lacks in substance is offset by his great skill with actors, his gift for shaping resonant little individual vignettes and his extraordinary intuition. Treated in linear fashion, the events and relationships here would not add up to much. But scrambled and rearranged as a haunting collage, they take on greater power.

At the very least, ‘’Magnolia’’ is a showcase for some splendid acting. Its single biggest surprise is Tom Cruise in the role of a strutting, obscenity-spouting cult figure named Frank Mackey. Frank’s brand of celebrity as a macho self-help guru is seen as symptomatic of the film’s time and place. First seen in performance, on a kind of rock-star high, Frank is later made to unravel during a lengthy interview sequence (with April Grace) that is one of the film’s incisive highlights.

With a keen sense of the nuances and power plays involved here, Anderson creates a sustained trial by fire for Frank and shows how each of the film’s initially secure-seeming characters is actually so vulnerable and needy. Cruise, like the other actors here, is allowed to come on like gangbusters and then reveal hidden uncertainty until, in that lethal last hour, the film’s startlingly vapid insights lead him off a cliff.

Anderson, who uses Aimee Mann’s songs on the soundtrack to excellent effect, has acknowledged drawing inspiration for the film’s mood and structure from Beatles music. Thus he often seems to be conducting the ways in which characters meet and intersect.

It is gradually revealed, for instance, that the film includes not only its young quiz show star but a former boy wonder (William H. Macy) who is now a sad has-been. And that two of the story’s older men (Robards and Philip Baker Hall) are powerful figures in the television industry who have serious illnesses and bitterly estranged children. Julianne Moore wafts luminously through the film as the grieving wife of one of them, a figure of showy materialism with no inner resources at all. ‘’Magnolia’’ is saved from its own worst, most reductive ideas by the intimacy of the performances and the deeply felt distress signals given off by the cast.

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≈ MAGNOLIA Soundtracks

Written by

Perfomed by

Credits

One

Harry Nilsson

Aimee Mann

Courtesy of Superego Records

Dreams

Gabrielle & Timothy Laws

Gabrielle

Courtesy of Go!Beat Records

Also Sprach Zarathustra

Richard Strauss

Herbert Karajan & Wiener Philh.

Courtesy of Decca Records

Build That Wall

Aimee Mann and Jon Brion

Aimee Mann

Courtesy of Superego Records

Driving Sideways

Aimee Mann & Michael Lockwood

Aimee Mann

Courtesy of Superego Records

You Do

Aimee Mann

Aimee Mann

Courtesy of Superego Records

Momentum

Aimee Mann

Aimee Mann

Courtesy of Superego Records

Goodbye Stranger

Roger Hodgson and Rick Davies

Supertramp

Courtesy of A&M Records

WDKK Theme Song

Jon Habanera & Georges Bizet

Herbert Karajan & Wiener Philh.

Rea Red Seal/BMG classics

The Logical Song

Roger Hodgson and Rick Davies

Supertramp

Courtesy of A&M Records

Whispering

Richard Coburn & Vincent Rose,

Aimee Mann

Courtesy of Geffen Records

Wise Up

Aimee Mann

Aimee Mann

Courtesy of Geffen Records

Save Me

Aimee Mann

Aimee Mann

Produced by Aimee Mann

Nothing Is Good Enough

Aimee Mann

Aimee Mann

Courtesy of Superego Records

Waiting

Colin Devlin

The DevlinsCourtesy

Radioactive/MCA Records

Hungarian Dance No. 6

Johannes Brahms

New World Harmonica Trio

Unknown

N. ¹ N. ² N. 3 N. 4 N. 5 N. 6 N. 7 N. 8 N. 9 N. ¹⁰ N. ¹¹ N. ¹² N. ¹³ N. ¹⁴ N. ¹⁵ N. ¹⁶

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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R | 1h 35min | Comedy, Drama, Romance

DAMAGED GOODS

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Synopsis

2002

Punch-Drunk Love Cast

Writer: Paul Thomas Anderson Stars: Adam Sandler, Emily Watson, Philip Seymour Hoffman

Barry Egan hates himself and hates his life. The only male among eight siblings, Barry is treated poorly by his overbearing sisters without them probably even realizing it. Despite owning his own business, he has gotten nowhere in life largely because of his insecurities.

He leads a solitary life, which allows him to hide his violent outbursts that occur when he’s frustrated. His solitude however allows him to think, he stumbling upon a scheme to travel the world on a pittance, travel which he has never done.

Concurrently, he meets two people who pull him in two different directions. The first is Lena Leonard, a friend of his sister Elizabeth. Barry is slow to realize that Lena is attracted to him, he making her make all the first moves.

Lena is eventually able to get Barry out of his shell, she who sticks around despite his obvious problems. His burgeoning relationship and thus new life with Lena is threatened by the second, “Georgia”, who he contacted in an effort to alleviate his loneliness. Georgia and her “band of brothers” do whatever they can get out of Barry what they want, no matter the price to Barry.

Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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DAMAGED GOODS ∞ PUNCH-DRUNK LOVE Technical Specs

Runtime 1 hr 35 min (95 min)

During the scene where Barry is at the supermarket looking for the cheapest Healthy Choice food item, he is being followed by an out-of-focus character in a red outfit. It’s Emily Watson’s character, before they’ve been introduced.

Sound Mix Dolby Digital EX | SDDS | DTS-ES Color Color (Technicolor) Aspect Ratio 2.35 : 1 Camera Panavision Panaflex Platinum, Panavision Primo, C- and E-Series Lenses

When Barry punches his office wall then rests a bloody hand on his piano, the cuts on his knuckles spell ‘love’.

Laboratory Consolidated Film Industries (CFI), Hollywood (CA), USA Negative Format 35 mm (Fuji Super F-125T 8532, Super F-250T 8552, Super F-500T 8572)

Anderson deliberately wanted to make a very different film after the rigors of making Magnolia (1999). He felt he had reached a dead end with his previous multi-character movies and he also wanted to subvert the critics’ expectations of his films. Being a close friend of Adam Sandler, it seemed like a natural fit to make a project with him.

Cinematographic Process Panavision (anamorphic) Printed Film Format 35 mm (Fuji)

Reversing an audio recording of the name “Lena” yields “añil”, a plant source for indigo dye. For most of the film, Barry is shown wearing his strikingly indigo-colored jacket.

Together, her name and his color form an aural symmetry.

Wounded souls in search of self and family re-creation in the most unlikely places

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DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

≈ PUNCH-DRUNK LOVE Soundtracks

Written by

Waikiki

Andy Cummings

Performed by Ladies K

Unknown

He Needs Me

Harry Nilsson

Shelley Duvall

Paramount & Walt Disney Pictures

Moana Chimes

Johnny Noble & M.K. Moke

Unknown

Unknown

Danny (Lonely Blue Boy)

Ben Weisman & Fred Wise

Conway Twitty

Courtesy of Universal Records

Perfomed by

Credits N. ¹ N. ² N. 3 N. 4

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bye bye,

June 26 – 28 Film Festival, 2017

Paul Thomas Anderson

you idiot.

DAMAGED GOODS

No frogs fall from the sky in ‘’Punch-Drunk Love,’’ Paul Thomas Anderson’s new movie, the centerpiece of this year’s terrific New York Film Festival.

You may recall that ‘’Magnolia,’’ the director’s three-and-a-half-hour millennial collage of intergenerational misery, was punctuated by a torrent of slimy amphibians, a croaking, splattery illustration of the movie’s ideas about chance, fate and the sudden intrusion of the miraculous into the slog of daily life.

But ‘’Punch-Drunk Love,’’ which opens nationwide on Friday and would fit inside ‘’Magnolia’’ twice, operates on a different scale and in a different register of feeling. Which is not to say that there are no surprises, no miracles lying in ambush—quite the contrary. Any film that can discover so many avenues of joy and any film that can bring Adam Sandler to the New York Film Festival must be touched by some kind of magic. No frogs, then, but

Love and the Single Misfit In a TopsyTurvy World

—A. O. Scott, NY Times

Wounded souls in search of self and family re-creation in the most unlikely places

Movie Review

in their place a creaky little harmonium, deposited at the mouth of a driveway just after an inexplicable early-morning car crash.

The instrument is picked up by Barry Egan (Sandler) who sells wholesale bathroom supplies out of a warehouse somewhere in the San Fernando Valley and stays up all night pursuing a plan to parlay supermarket pudding into frequent-flier miles. As his life becomes ever more chaotic, the miniature organ, with its wheezy nervous tones and its bellows patched with duct tape, becomes a source of calm and comfort for Barry, who veers between frightening bursts of anger and a demeanor of stricken, lobotomized self-control.

Barry is socially maladroit, emotionally cross-wired and a little creepy-looking—a loser, in short—and ‘’Punch-Drunk Love’’ is about the sudden eruption of grace, love and self-knowledge into his sad, chaotic life. The harmonium is a portent for the arrival of Lena Leonard (Emily Watson), a shy, whispery woman who works with one of Barry’s seven sisters (Mary Lynn Rajskub) and who elects, against all reason but with sublime decisiveness, to fall in love with Barry.

Of course, the laws of romantic comedy—and Anderson’s delight in choreographing distress— dictate that the path to love be strewn with obstacles. First of all, there are those seven sisters

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Paul Thomas Anderson

(played by Ms. Rajskub and six nonprofessionals, four of them real-life blood relations). They subject their brother to a constant stream of teasing, humiliation and betrayal, and they can’t comprehend the tears, the rages and the tremulous, mumbling weirdness that are partly the results of their abuse.

As if the seven sisters were not bad enough, Barry is soon harassed by four blond brothers (played by four actual blond brothers) dispatched from Utah by a crooked, self-righteous phone-sex entrepreneur named Dean (Philip Seymour Hoffman). In a moment of acute loneliness, before Lena came into his life, Barry had surrendered his credit card number and other vital information to one of Dean’s employees, and he has now become the patsy in a brutal extortion scheme.

No mere plot summary can do justice to the wild, sweet pleasures of ‘’Punch-Drunk Love.’’ Ms. Watson, her blue eyes nearly as wide as the screen (and the movie is in an unusually wide format), has a smart, quiet oddness that plays beautifully off Sandler’s somersaulting bipolarity. Lena may be a romantic convention rather than a fully conceived personality, but she is also the audience’s

surrogate: her love for Barry is the cue for our own, and Ms. Watson brings us to him in the palm of her hand. ‘’I have a love in my life,’’ Barry declares in his final showdown with Dean, ‘’and it gives me more strength than you could ever understand.’’ The line gets a laugh, but it is not a joke: the laughter is a response to the grand pop-culture idealism that the movie presents without irony or apology.

It might have been interesting if Sandler had departed from his usual doofus man-child persona, but what he does within that persona—infusing it with a vulnerable, off-kilter humanity that recalls such great film comedians as Buster Keaton and Jacques Tati—turns out to be even better.

He has often used the possibility of violence that accompanies his charm to crude, bullying effect, most recently in the horrendous ‘’Mr. Deeds.’’

But here, because the spectacle of Barry’s cowardice is so excruciating, and the injustices and annoyances he suffers so stressful, Sandler’s fury comes close to poetry.

And poetry is perhaps the best way to think about Anderson’s suave, exuberant balance of free-form inspiration and formal control. In this, his fourth feature, he is still very much a movie-mad adolescent, sprinkling his work with gleeful allusions and playful rip-offs of whatever strikes his fancy.

But even as it calls to mind everything from Freed Unit MGM musicals to ‘’The Searchers,’’ ‘’PunchDrunk Love’’ goes far beyond pastiche. What Anderson wants to do is recapture the giddiness and sweep of old movies, and his mastery of the emotional machinery of the medium is breathtaking. You can feel his impulsive pleasure as he flings the camera through long tracking shots, and layers his nimble visual compositions with music. The score, by John Brion, is alternately swooning and percussive, and it is as important an element as Mr. Sandler’s performance (or the bright blue suit Barry wears in nearly every scene).

Many of the scenes are structured like musical numbers, building up into a swirl of sound and spectacle that leaves you addled, a little dizzy and overcome by a pleasing, unplaceable sensation—one best summed up in the movie’s title.

R | 2h 38min | Drama

DAMAGED GOODS

2007

There Will Be Cast

Writers: Paul Thomas Anderson (screenplay), Upton Sinclair (novel) Stars: Daniel Day-Lewis, Paul Dano, Ciarán Hinds

Wounded souls in search of self and family re-creation in the most unlikely places

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∞ THERE WILL BE BLOOD Technical Specs

Runtime 2 hr 38 min (158 min) Sound Mix SDDS | Dolby Digital | DTS

Blood

A story of family, religion, hatred, oil and madness, focusing on a turn-of-the-century prospector in the early days of the business.

Synopsis

Color Color Aspect Ratio 2.35 : 1 Camera Panavision Panaflex Millennium XL, Panavision C-, E-Series, Super High Speed, SP and Pathé Lenses Panavision Panaflex Platinum, Panavision C-, E-Series, Super High Speed and SP Lenses Laboratory DeLuxe, Hollywood (CA), USA Negative Format 35 mm (Kodak Vision2 50D 5201, Vision2 200T 5217) Cinematographic Process Panavision (anamorphic) Printed Film Format 35 mm (Kodak Vision 2383) D-Cinema

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

Daniel Day-Lewis improvised the speech he gives to the citizens of Little Boston, about building schools, bringing bread to the town, etc. Paul Thomas Anderson says of this, “It was delicious. It was Plainview on a platter.”

Every Wednesday night during editing, PTA and company would have just steak and straight vodka for dinner to keep in the mentality of Daniel Plainview.

Daniel Plainview bears some resemblance to a real, early twentieth-century California oil tycoon named Edward L. Doheny. Both were from Fond du Lac, Wisconsin; both were employed by Geological Survey and worked in Kansas; both tried a hand at mining before going into the oil business; and both worked with a fellow prospector named “H.B. Ailman.”

As for other Plainview-Doheny connections, the bowling alley scene in ‘There Will Be Blood’ was filmed at Greystone Manor, a California estate Doheny built as a present for his only son.

Also interestingly, the infamous “milk-shake speech” Plainview gives is based on transcripts of congressive hearings concerning the Teapot Dome Scandal, in which Edward L. Doheny had been accused of bribing a political official.

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Day-Lewis appears in every scene of the film, with two minor exceptions - he is not present in the scene where Eli Sunday (still covered in mud) berates his father, or in the brief montage of H.W. and Mary Sunday leading up to their marriage.

DAMAGED GOODS

shadows and nearly wordless. Inside a deep, dark hole, a man pickaxes the hard-packed soil like a bug gnawing through dirt. This is the earth mover, the ground shaker: Plainview.

“There Will Be Blood,” Paul Thomas Anderson’s epic Over the next two and a half mesmerizing hours American nightmare, arrives belching fire and Plainview will strike oil, then strike it rich and brimstone and damnation to Hell. Set against the transform a bootstrapper’s dream into a terrifying backdrop of the Southern California oil boom prophecy about the coming American century. of the late-19th and early-20th centuries, it tells a It’s a century he plunges into slicked in oil, dabbed story of greed and envy of biblical proportions— with blood and accompanied by H.W. (eventually Not long afterward oil is gushing out of that desert. reverberating with Old Testament sound and fury played by the newcomer Dillon Freasier), the child The eruption rattles both the earth and the local and New Testament evangelicalism—which who enters his life in 1902 after he makes his first population, whom Plainview soothes with promAnderson has mined from Upton Sinclair’s 1927 strike and seems to have burbled from the ground ises. Poor, isolated, thirsting for water (they don’t novel “Oil!” There is no God but money in this oillike the liquid itself. The brief scenes of Plainview’s have enough even to grow wheat), the dazed rich desert and his messenger is Daniel Plainview, first tender, awkward moments with H.W. will inhabitants gaze at the oilman like hungry baby a petroleum speculator played by a monstrous haunt the story. In one of the most quietly lovely birds. (Their barren town is oddly named Little and shattering Daniel Day-Lewis. images in a film of boisterous beauty, he gazes Boston.) He promises schools, roads and water, Plainview is an American primitive. He’s more articuat the tiny, pale toddler, chucking him under the delivering his sermon with a carefully enunciated, late and civilized than the crude, brutal title chin as they sit on a train very much alone. sepulchral voice that Day-Lewis seems to have character in Frank Norris’s 1899 novel “McTeague,” “There Will Be Blood” involves a tangle of relationships, largely borrowed from the director John Huston. and Erich von Stroheim’s masterly version of the mainly intersecting sets of fathers and sons and Plainview is preaching a new gospel, though same, “Greed.” But the two characters are brothers pairs of brothers. But it is Plainview’s intense, needone soon challenged by another salesman, Paul under the hide, coarse and animalistic, sentimental ful bond with H.W. that raises the stakes and gives Sunday’s Holy Roller brother, Eli (also Dano). in matters of love and ruthless in matters of avarice. enormous emotional force to this expansively A preacher looking to build a new church, Eli Anderson opens his story in 1898, closer to Norris’s imagined period story with its pictorial and historislithers into the story, one more snake. novel than Sinclair’s, which begins in the years cal sweep, its raging fires, geysers of oil and This tension between realism and spectacle runs like leading up to World War I. And the film’s opener is inevitable blood. By the time H.W. is about 10, he has a fissure through the film and invests it with trea stunner—spooky and strange, blanketed in become a kind of partner to his father, at once a mendous unease. You are constantly being pulled child and a sober little man with a jacket and neatly away from and toward the charismatic Plainview, combed hair who dutifully stands by Plainview’s whose pursuit of oil reads like a chapter from this side as quiet as his conscience. nation’s grand narrative of discovery and conquest.

A large swath of the story takes place in 1911, by which His 1911 strike puts the contradictions of this point Plainview has become a successful oilman story into graphic, visual terms. Anderson initially with his own fast-growing company. Flanked by thrusts you close to the awesome power of the the watchful H.W., he storms through California, geyser, which soon bursts into flames, then pulls sniffing out prospects and trying to persuade back for a longer view, his sensuously fluid camera frenzied men and women to lease their land for drilling. (H.W. gives Plainview his human mask: “I’m a family man,” he proclaims to prospective leasers.) One day a gangling, unsmiling young man, Paul Sunday (Paul Dano), arrives with news that oil is seeping out of the ground at his family’s ranch. The stranger sells this information to Plainview, who sets off with H.W. to a stretch of California desert where oil puddles the ground among the cactus, scrub and human misery.

An American Primitive, Forged in a Crucible of Blood and Oil

—Manohla Dargis, NY Times

Wounded souls in search of self and family re-creation in the most unlikely places

Movie Review

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keeping pace with Plainview and his men as they race about trying to contain what they’ve unleashed. But the monster has been uncorked.

The black billowing smoke pours into the sky, and there it will stay.

With a story of and for our times, “There Will Be Blood” can certainly be viewed through the smeary window that looks onto the larger world.

It’s timeless and topical, general and specific, abstract and as plain as the name of its fiery oilman. It’s an origin story of sorts. The opening images of desert hills and a droning electronic chord allude to the beginning of “2001: A Space Odyssey,” whose murderous apes are part of a Darwinian continuum with Daniel Plainview.

But the film is above all a consummate work of art, one that transcends the historically fraught context of its making, and its pleasures are unapologetically aesthetic. It reveals, excites, disturbs, provokes, but the window it opens is to human consciousness itself.

≈ THERE WILL BE BLOOD Soundtracks

Composed by

Perfomed by

Credits

Popcorn Superhet Receiver

Jonny Greenwood

BBC Concert Orchestra

Conducted by Robert Ziegler

D Major Op.77:3. Vivace Non Troppo

Johannes Brahms

Berliner Philharmoniker

Courtesy of Deutsche Grammophon

Smear

Jonny Greenwood

London Sinfonietta

Licensed courtesy of BBC Worldwide

Pärt: Fratres for Cello and Piano

Arvo Pärt (as Arvo Part)

I. Fiamminghi

Courtesy of Telarc Intel. l Corporation

What a Friend We Have in Jesus

Written by Joseph M. Scriven

Church of the Third Revelation

Unknown

There Is Power in the Blood

Written by Lewis E. Jones

Church of the Third Revelation

Unknown

Gradh Geal Mo Chridh

(uncredited)

(uncredited)

(uncredited)

N. ¹ N. ² N. 3 N. 4 N. 5 N. 6 N. 7

DAMAGED GOODS

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R | 2h 24min | Drama

DAMAGED GOODS

2012

The Master Cast

Writer: Paul Thomas Anderson Stars: Philip Seymour Hoffman, Joaquin Phoenix, Amy Adams

Wounded souls in search of self and family re-creation in the most unlikely places

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Synopsis Returning from Navy service in World War II, Freddie Quell drifts through a series of breakdowns. Finally he stumbles upon a cult which engages in exercises to clear emotions and he becomes deeply involved with them.

DAMAGED GOODS

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∞ THE MASTER Technical Specs

Runtime 2 hr 24 min (144 min) Sound Mix Datasat | Dolby Digital Color Color Aspect Ratio 1.85 : 1 Camera Panavision 65 HR Camera, Panavision System 65, Hasselblad and Kowa Super 66 Fisheye Lenses Panavision Panaflex Millennium XL2, Panavision Ultra Speed Z-Series MKII and Zeiss Jena Lenses Panavision Panaflex System 65 Studio, Panavision System 65, Hasselblad and Kowa Super 66 Fisheye Lenses Laboratory DeLuxe, Hollywood (CA), USA (35mm processing and photochemical timing) FotoKem Laboratory, Burbank (CA), USA (65mm dailies, processing and photochemical timing) Negative Format 35 mm (Kodak Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219) 65 mm (Kodak Vision2 50D 5201, Vision3 50D 5203, Vision3 250D 5207, Vision3 200T 5213, Vision3 500T 5219) Cinematographic Process Panavision Super 70 Printed Film Format 35 mm (Kodak Vision 2383)

DAMAGED GOODS

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During the jail cell scene, Drinking Jug-Juice, the NAVY slang for imbibing fuel Joaquin Phoenix breaks mixed with cans of fruit, was detailed by the staff of a real toilet. His actions the Aircraft Carrier, USS Hornet Museum—one of the locations utilized for the shoot. The scene in which were entirely improvised. Freddie gets ethanol out of the torpedo on the ship is Due to the historical also based on a true story told by Jason Robards to past of the building Paul Thomas Anderson. where the scene took Philip Seymour Hoffman had his first drink in 23 years place, the toilet was at the wrap party for this film, leading to a relapse of considered “historical.” his alcoholism.

Joaquin had no intenThe very first line in the film, where Freddie is talking tions to break the toilet, on the beach, was entirely improvised. nor did he think it was The ship carrying the cult is named “Alethia”, Greek possible. for “Truth”. It comes from the prefix “a-” and the word “lethe”, which means oblivion. So it literally translates as “un-forgetfulness”, which fits the intentions of The Cause of remembering past lives and supressed or forgotten memories.

Joaquin Phoenix’s parents escaped from the infamous Children of God cult in the 1970’s.

Initially the film was set up with Universal but fell through due to problems with the scripts and the budget. It was later distributed by The Weinstein Company.

Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

≈ THE MASTER Soundtracks

Written by

Perfomed by

Credits

Baton Sparks

Jonny Greenwood

The Aukso Chamber Orchestra

Courtesy of Unreliable Ltd.

Get Thee Behind Me Satan

Irving Berlin

Ella Fitzgerald

Courtesy of The Verve Music Group

Dahil Sa Iyo

Mike Velarde (as Miguel Velarde Jr.)

Uncredited

Uncredited

Sweet Sue, Just You

Victor Young & Will J. Harris

Noro Morales

Courtesy of RCA Records Label

Overtones

Jonny Greenwood

The Aukso Chamber Orchestra

Courtesy of Unreliable Ltd.

You Go To My Head

Haven Gillespie & J. Fred Coots

Larry Clinton & His Orchestra

Courtesy of RCA Records Label

Don’t Sit Under the Apple Tree

Lew Brown, Charles Tobias & Sam Stept

Madisen Beaty

Uncredited

Dancers in Love

Duke Ellington

Duke Ellington

Courtesy of Columbia Records

Lotus Blossom

Billy Strayhorn

Duke Ellington

Courtesy of Columbia eRcords

I’ll Go No More A-Rovin’

Justin Goldman & Hal Willner

Philip Seymour Hoffman

Uncredited

Children of the Family

Eban Schletter

Eban Schletter

Uncredited

Celebration Solaire

Eban Schletter

Eban Schletter

Uncredited

A-Tisket A-Tasket

Ella Fitzgerald & Van Alexander

Melora Walters

Uncredited

No Other Love

Bob Russell and Paul Weston

Jo Stafford

Courtesy of Capitol Records

The Deep Boo Sea

Winston Sharples

Uncredited

Uncredited

On a Slow Boat to China

Frank Loesser

Philip Seymour Hoffman

Uncredited

Changing Partners

Larry Coleman Jr. & Joe Darion

Helen Forrest

Courtesy of Olden Golden Inc.

Able-Bodied Seamen

Jonny Greenwood

London Contemporary Orchestra

Uncredited

Time Hole

Jonny Greenwood

London Contemporary Orchestra

Uncredited

Alethia

Jonny Greenwood

London Contemporary Orchestra

Uncredited

Atomic Healer

Jonny Greenwood

London Contemporary Orchestra

Uncredited

Application 45 Version 1

Jonny Greenwood

London Contemporary Orchestra

Uncredited

Sweetness of Freddie

Jonny Greenwood

London Contemporary Orchestra

Uncredited

N. ¹ N. ² N. 3 N. 4 N. 5 N. 6 N. 7 N. 8 N. 9 N. ¹⁰ N. ¹¹ N. ¹² N. ¹³ N. ¹⁴ N. ¹⁵ N. ¹⁶ N. ¹⁷ N. ¹⁸ N. ¹⁹ N. ²⁰ N. ²⁰ N. ²¹ N. ²²

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Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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Act. 02

Paul Thomas Anderson

“No matter how many times you do it, you don’t get used to the sadness— for me at least—of coming to the end of a film.”

—PTA

DAMAGED GOODS

PTA proves his uniqueness again, as Joaquin Phoenix’s drifter bonds with Philip Seymour Hoffman’s cult leader in a brilliant and sad dissection of postwar America —Peter Bradshaw, The Guardian

Wounded souls in search of self and family re-creation in the most unlikely places

Movie Review

Paul Thomas Anderson’s new movie The Master is brilliant, mysterious and unbearably sad, in approximately that narrative order. It is just that brilliance and formal distinction, together with a touch of hubris in the title, that could divide commentators. Anderson has within living memory knocked us for the biggest loop with his There Will Be Blood in 2007, and nothing makes critics more nervous than a director who makes two exceptional films in a row. Reviewers get a bit self-conscious about dishing out the top prize again, scared of looking like fanboys and pushovers.

They feel the need to change the mood, to validate the uniqueness of their former praise. And I admit that after seeing The Master for the first time, I experienced a dark and timid microsecond of the soul on this score, before I swallowed my pride and just responded to what was in front of me: a superb film.

Like a lot of Anderson’s previous work, it is about pioneers, leaders and dysfunctional families, and like There Will Be Blood it is about the origins of American modernity, the pre-history of a certain kind of self-help and self-belief, entrepreneurial and evangelical. In this case, it is the Year Zero of a belief system that does not yet have extreme age to put its irrationality above reproach. The Master is about homemade spirituality and gimcrack philosophy, a snake-oil salesman of religion offering self-medication of the mind and body, attracting desperately lonely and vulnerable people to his new cult. It all happens in a meticulously realised postwar America, like something from the pages of Steinbeck or DeLillo, but with bizarre setpieces and an extra-terrestrial strangeness all of its own. Jonny Greenwood’s unsettling score makes a strong contribution.

Phoenix gives a laceratingly powerful performance as Freddie Quell, invalided out of the US Navy in 1945 with a nervous breakdown, exacerbated by addiction to his own moonshine. His face is incised and gaunt like that of a medieval saint, he mumbles and giggles almost unintelligibly; walking around with his fists in the small of his back, elbows akimbo, like someone recovering from a terrible injury—which of course is what he is. (To me, Phoenix’s Quell looks a little like Neal Cassady, the model for Dean Moriarty in Kerouac’s On the Road.) Living semi-rough and on the lam, Freddie finds himself stowing away on a grand and somewhat preposterous steamboat.

In charge is the charismatic Lancaster Dodd, played

by Philip Seymour Hoffman, a puce-faced public speaker who styles himself “The Master”, hammy and plummy and steely. Dodd is a mix of L Ron Hubbard, Ayn Rand and Dale Carnegie. He believes in curing physical and psychological ills by rooting out previous selves and interplanetary interlopers from millions of years ago, through confrontational interrogations and therapies that are like hypnosis or recovered memory or even electroconvulsive shock treatment. The Master is amused

by Quell, gets a taste for his hooch, and decides to make of him a special case for his treatment.

Freddie is the Fool to his Lear, or Peter to his Jesus.

The Master resolves to break Freddie down and build him up anew, and Quell’s chaos and Dodd’s charlatanism become locked together in a dance of death—erotic and homoerotic.

When I first saw The Master, I saw it as an eloquent drama of ideas, a Foucauldian account of unreason, all about crazy and marginal worldviews excluded from mainstream histories of the western enlightenment. On a second viewing, I responded far

more to the personal story of Quell and Dodd, and their absurd, sinister and poignantly doomed love story. Freddie’s gift for brewing up moonshine out of anything to hand (paint-stripper, developing fluid, fruit, bread) and making himself the life and soul of the party is no incidental detail. His booze-genius is of course analogous to Dodd’s gift for intoxicating rhetoric and ideas, cobbled together from bits and pieces of science and established religion. They are a match made in sociopath heaven. Both have a long-term addiction to their own supply, and maybe Quell and Dodd are the ancestors of showbiz faith; they fully understand the masses’ opiate, having tested it extensively on themselves. But more than this, Anderson suggests that Quell is ultimately wiser than Dodd, and has finally understood that his association with him is happening on the rebound, the effect of personal heartbreak, missed chances and a lifetime of regret. The Master is a supremely confident work from a unique film-maker, just so different from the standard Hollywood output: audacious and unmissable.

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Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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Act. 01

P

June 26 – 28 Film Festival, 2017

Paul Thomas Anderson

T

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A

R | 2h 28min | Comedy, Crime, Drama

DAMAGED GOODS

Inherent Vice 2014

Wounded souls in search of self and family re-creation in the most unlikely places

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Act. 02

Paul Thomas Anderson

Synopsis

Cast

Writers: Paul Thomas Anderson (written for the screen by), Thomas Pynchon (based on the novel by) Stars: Joaquin Phoenix, Josh Brolin, Owen Wilson

1971. Larry Sportello—better known as Doc—is a pot head hippie private eye based in Gordita Beach in southern California. He is approached by ex-lover Shasta Fay Hempworth, who believes her current boyfriend, married land developer Mickey Wolfmann, is the target of an abduction attempt by his wife and her lover.

In helping Shasta, Doc not only goes on a search for Wolfmann, but others who go missing, including Shasta, and one who is assumed to be murdered. Along the way, Doc gets involved with a crazy cast of characters and a wide array of issues from politics, cults, prostitution, the drug trade and dentistry, much of it surrounding the mysterious “Golden Fang”.

Along for most of the ride is LAPD detective Christian Bjornsen—Bigfoot to most who know him—who is straight-laced on the outside, but who has a dark underside, which is supported by a hefty therapy bill.

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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Act. 02

According to director Paul Thomas Anderson, Joaquin Phoenix and Reese Witherspoon “have their own language and short hand” with each other. While their natural rapport helped to show the chemistry between their characters, this led to Anderson having to constantly remind them to stop chatting so that they could film.

The real name of the ship that doubles the Golden Fang is “American Pride.”

Paul Thomas Anderson

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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Paul Thomas Anderson

DAMAGED GOODS

Swinging Seventies

—Peter Bradshaw, The Guardian

After a publishing career of more than 50 years, Thomas Pynchon has finally allowed one of his novels to be filmed. Inherent Vice, which has been adapted and directed by Paul Thomas Anderson, is all about a stoner private detective named Larry “Doc” Sportello in 1970 southern California, called in by an ex-girlfriend to investigate the sinister disappearance of her married lover. It is an occult mystery upon which Doc attempts to shed light using the torch he still carries for her.

The resulting movie is a delirious triumph: a stylish-squared meeting of creative minds, a swirl of hypnosis and symbiosis, with Pynchon’s prose partly assigned to a narrating character and partly diversified into funky dialogue exchanges.

Each enigmatic narrative development is a twist of the psychedelic kaleidoscope.

It’s as if Anderson and Pynchon have teamed up to grow something new under arc lights and plastic sheeting, like a cortex-manglingly strong hydroponic version of the dope on the page. Anderson has tweaked the seriocomic register and ensemble staging of his own earlier pictures such as Boogie Nights and Magnolia, and with cinematographer Robert Elswit, production designer David Crank and composer Jonny Greenwood, devised something intensely pleasurable to watch and listen to.

It is a riff on freaks and straights, counterculture and counter-revolution, conspiracy paranoia and drug anxiety. It toys with the concept of noir Wounded souls in search of self and family re-creation in the most unlikely places

Movie Review

incomprehensibility as a form of dope disorientation, and indulges an unfathomable Christian theme of resurrection. There is a very real interest in spanking and oral sex.

The inherent virtue is comedy: this is dreamier, more deadpan and often sadder than Anderson’s last two movies, soaked in the plaintive lilt of Neil Young, beautiful and strange. Doc is played

by Joaquin Phoenix, in one of his more restrained performances—although his involuntary shout of horror at a photograph is the film’s single tonal misstep. Doc is a bleary, sideburned innocent abroad, propelled into the story when he is literally awoken from a nap by the girlfriend he hasn’t seen for years. He reacts with just the gentlest of smiles, and he never reacts at all when people greet him with: “What’s up, Doc?” His lost and future love is Shasta, tremendously played by Katherine Waterston, who tells him about the disappearance of her wealthy paramour, property magnate Mickey Wolfmann (Eric Roberts). Investigating this imbroglio will involve Doc’s current girlfriend, assistant district attorney Penny (Reese Witherspoon), vindictive LAPD cop Detective “Bigfoot” Bjornsen (Josh Brolin), and a dentist, Dr Blatnoyd—underplayed by the excellent Martin Short—with possible links to suspected drug-front company Golden Fang.

It is a sunlit noir, with all the restraint and coherence of a Marx brothers movie. (One f leeting shot discloses the existence of a street called Gummo Marx Way, and surely the real-life L.A. will now

wish to introduce this, perhaps at the same time as Anderson gets his Hollywood Walk of Fame star.) Doc himself is a dropout cousin to the heroes of Polanski’s Chinatown and Altman’s The Long Goodbye—more these figures, I think, than the Dude from the Coens’ The Big Lebowski. The plot is increasingly chaotic and elusive and arbitrary, but no more so than The Big Sleep. It doesn’t add up, but it doesn’t quite not add up, either.

Inherent Vice largely does without the skeleton of narrative; instead it is pure flesh, pure sinew, pure tendon, pure texture.

But despite points of comparison and influences, what really comes across is the film’s sheer, exhilarating differentness. Anderson is broadly faithful to the novel, though he jettisons its section set in Las Vegas and excises most of its cinephile references—although he keeps in a line about “Jimmy Wong Howe”—and, perhaps sadly, we lose Pynchon’s surreal anglophile allusions to George Formby and Maggie Smith. Even with something as ostensibly conventional as a literary adaptation, this movie is so distinct from everything and everyone else, and watching it is like encountering a higher order of film-making, more advanced and evolved. The mystery of Doc’s lost love has a freaky power, but also delicacy, melancholy and charm.

I can’t wait to see it again.

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Film Festival, 2017

Paul Thomas Anderson

DAMAGED GOODS ≈ INHERENT VICE Soundtracks

Wounded souls in search of self and family re-creation in the most unlikely places

Written by

Perfomed by

Credits

Dreamin’ On a Cloud

Uncredited

The Tornadoes

Uncredited

Rhythm of the Rain

John Gummoe

Can

Uncredited

Vitamin C

Michael Karoli & Holger Czukay

Uncredited

Uncredited

Soup

Michael Karoli & Holger Czukay

Can

Courtesy of United Artists

Simba

Les Baxter

Les Baxter

Courtesy of Capitol Records

Spooks

Uncredited

Jonny Greenwood & Supergrass

Uncredited

Burning Bridges

Walter Scott

Jack Scott

Uncredited

The Throwaway Age

Uncredited

Bob Irwin & the Pluto Walkers

Uncredited

Gilligan’s Island

Sherwood Schwartz & George Wyle

Uncredited

Uncredited

Harvest

Neil Young

Neil Young

Uncredited

Here Comes the Ho-Dads

Uncredited

The Marketts

Uncredited

Electricity

Uncredited

Cliff Adams

Uncredited

Never My Love

Don Addrisi & Dick Addrisi

The Association

Uncredited

Les Fleurs

Charles Stepney & Dick Rudolph

Minnie Riperton

Courtesy of GRT Records

Journey thru the Past

Neil Young

Neil Young

Uncredited

Sukiyaki

Rokusuke Ei & Hachidai Nakamura

Kyû Sakamoto

Courtesy of Capitol Records

Adam-12 (Themes and Cues)

Frank Comstock

Uncredited

Uncredited

(What A) Wonderful World

Lou Adler Herb Alpert & Sam Cooke

Sam Cooke

Courtesy of Keen Records

Amethyst

Uncredited

Jonny Greenwood

Uncredited

Any Day Now

Burt Bacharach & Bob Hilliard

Chuck Jackson

Uncredited

Here Come The Ho-Dads

Uncredited

The Marketts

Courtesy of Jo-Go Music, USA

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∞ INHERENT VICE Technical Specs

Runtime 2 hr 28 min (148 min) Sound Mix Dolby Digital | Datasat | SDDS Color Color Aspect Ratio 1.85 : 1 Camera Panavision Panaflex Millennium XL2, Panavision Super Speed MKII and Cooke Panchro Lenses Laboratory Laboratory, Burbank (CA), USA Film Length 4,073.08 m (9 reels) Negative Format 35 mm (Kodak Vision3 200T 5213, Vision3 500T 5219) Cinematographic Process Spherical Printed Film Format 35 mm (Kodak Vision 2383) 70 mm (blow-up) (Kodak Vision 2383) D-Cinema

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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Paul Thomas Anderson

DAMAGED GOODS

Festival Concept Schedule

Things to Do Places to Eat Places to Stay

Wounded souls in search of self and family re-creation in the most unlikely places

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Act. 01

Paul Thomas Anderson

The

Festival

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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Act. 03

Paul Thomas Anderson

Festival Concept The date of the festival is in celebration of Paul Thomas Anderson's birth—June 26, 1970—and goes on for three consecutive days due to the heavy schedule and duration of the films.

The location—10101 Canoga Ave, Chatsworth CA—is the warehouse where the movie PunchDrunk Love was shot. The reason for the choice of this venue is to reflect Paul Thomas Anderson's vision in his movies where he insists on presenting a very raw and realistic version of the truth and, in turn, of Los Angeles.

Unlike the commercial way in which it's been glamorized and romanticized, in PT Anderson's movies we get to see the grunge and fall in love with its beauty nevertheless.

The name of the festival was purely inspired by the recurring characters in the movies; they're always damaged and are constantly looking for a family and a home to replace the one they were born in, but kicked out of for a different reason each time.

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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Guide to PT Anderson's Film Locations

Punch-Drunk Love

The toilet plunger business where Barry Egan works: Eckhart Autobody, Canoga Avenue, Chatsworth

Magnolia

Quiz Kid Donnie comes clean at the bar: Foxfire Room, Magnolia Blvd, San Fernando Valley

Punch-Drunk Love

The shady ‘Utah’ operation of Dean Trumbell, 390 West Foothill Blvd, LA

2–2 Film Locations

Boogie Nights Magnolia Punch-Drunk Love

Boogie Nights

The robbery: Miss Donuts 18231 Sherman Way, Reseda

Magnolia

The bungled suicide: Bryson Hotel, Wilshire Blvd, downtown LA

Boogie Nights

The late night cafe: Du-Par’s Restaurant, Ventura Blvd, Studio City

Boogie Nights

The 'Hot Traxx' disco: Iglesia Cristiana Nuevo Empezar, 18419 Sherman Way, Reseda Boogie Nights

Jack Horner's house where all the parties took place around the pool

4–4 Film Locations

Boogie Nights Magnolia Punch-Drunk Love

Boogie Nights film locations: Los Angeles

Boogie Nights

Home of drug dealer Rahad: Encino Hills Drive, Encino

Paul Thomas Anderson’s somewhat rose-tinted look Jack Horner’s luxurious house is way to the east in at the fall of the porn film industry in the 70s, West Covina, though his porno warehouse is the bursting with style, energy and great performances— real thing, Gourmet Video in Van Nuys. not to mention the pounding soundtrack—was Eddie, transformed into porn legend Dirk Diggler filmed largely in the San Fernando Valley north of LA. and down on his luck, is reduced to showing off his The ‘Hot Traxx’ disco, where film director Jack spectacular endowment for bucks in front of St Horner (Burt Reynolds) spots Eddie Adams (Mark Catherine’s of Siena Church, 18115 Sherman Way Wahlberg) working as a waiter, has cleaned up its at Lindley Avenue, where he gets beaten up by a act a little, and is in fact a church, Iglesia Cristiana carload of surfer punks.

Nuevo Empezar, 18419 Sherman Way at Canby A little further west along Sherman Way, the life of Avenue, Reseda. Just west, on Sherman Way, you Buck Swope (Don Cheadle) is turned around when can see the, now-closed, Reseda Picture House witnesses the bloodily bungled robbery at Miss used for the opening credits.

Donuts, 18231 Sherman Way, near Etiwanda Avenue.

Eddie, with Amber Waves (Julianne Moore) and Todd Parker (Thomas Jane) ropes Dirk and Reed Rollergirl (Heather Graham), is whisked off to a late(John C Reilly) into his dubious scam to rip off Rahad night restaurant, where Jack Horner expounds his (Alfred Molina) at the El Royale Motel, 11117 Ventura messianic vision of adult cinema—“It is my dream to Boulevard, Studio City. make a film that is true and right and dramatic”.

Rahad’s house is to the west, at 16804 Encino Hills And indeed, Du-par's Restaurant, 12036 Ventura Drive, in the squiggle of roads south of Encino Boulevard, Studio City, just off Laurel Canyon between Ventura Boulevard and Mulholland Drive.

Boulevard as you enter the Valley from Hollywood, is open 24 hours a day, serving up hearty breakfasts and pies since 1938.

By the way, the Shell gas station just across Ventura from Du-par's is where Jake Gyllenhaal gives his assistant a ticking-off in Nightcrawler.

Anderson plays fair with Eddie Adams house, which really is way down in Northwest Torrance, south of LAX. It’s 3503 West 187th Street, just where the road turns sharply south to become Cerise Avenue, south of the I-405.

Punch-Drunk Love film locations: Los Angeles; Hawaii

Magnolia film locations: Los Angeles; Nevada

Like Boogie Nights, the director’s previous film, Magnolia is set in the director’s own neighbourhood, the San Fernando Valley, of Burbank, North Hollywood and Van Nuys, north of Los Angeles.

‘Magnoliafan’ is the ultimate put-down for Kevin Smith aficionados, but Valley boy Paul Thomas Anderson’s daring, multi-centered drama barrels through its three-hour running time with blistering energy, carrying a clutch of career-best performances on board.

There's a brief detour to Reno, Nevada, for the opening casino scene, and to Big Bear Lake, California, for the story of the diver found in a tree.

The film is named for Magnolia Boulevard, one of the Valley’s main east-west thoroughfares, on which you’ll find the bar in which one-time Quiz Kid Donnie declares his love for Brad the Barman. The Foxfire Room, 12516 Magnolia Boulevard at Whitsett Avenue is in Valley Village, north of Studio City.

Good-natured cop Jim Kurring (John C Reilly) is caught by the unexpected frog deluge as he drives along Reseda Boulevard. The ‘Solomon & Solomon’ store, where he spots Donnie trying to climb a telegraph pole after the clumsy robbery, is LA Popular Alliances, 7222 Reseda Boulevard at Sherman Way in Reseda.

6–6 Film Locations

Boogie Nights Magnolia Punch-Drunk Love

It’s in downtown LA itself that you’ll find the ninestory building where the unsuccessful suicide of the prologue becomes a successful homicide. The Bryson Apartment Hotel, 2701 Wilshire Blvd was seen also in Stephen Frears’ excellent The Grifters.

After the multi-focus sweep of Magnolia, Paul Thomas Anderson turned to this strangely quirky romance, which begins like a David Lynch movie, with a shocking car smash, and the arrival of a mysterious harmonium, on Canoga Avenue, outside the toilet-plunger business where Barry Egan works.

In reality, it’s a bodyshop, Eckhart Autobody, 10101 Canoga Avenue at Mayall Street, Chatsworth in the San Fernando Valley.

Lovestruck Barry follows Lena Leonard to Hawaii, where they stay at the venerable ‘Pink Palace of the Pacific’, the Royal Hawaiian Hotel, 2259 Kalakaua Avenue, Honolulu, on the island of Oahu.

The shady ‘Utah’ operation of Dean Trumbell is Foothill Furniture & Mattresses, 390 West Foothill Boulevard, at Falcon Street, Pomona, east of LA.

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Paul Thomas Anderson

DAMAGED GOODS

Schedule Dates + Location

June 26–28

All films are playing at this location

Wounded souls in search of self and family re-creation in the most unlikely places

10101 Canoga Ave, Chatsworth CA

�104

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June 26 – 28 Film Festival, 2017

Act. 03

Paul Thomas Anderson

June 26 1:00 p.m.

Opening Reception

1:45 p.m.

Inherent Vice

4:15 p.m.

Intermission

4:45 p.m.

The Master

7:10 p.m.

Conversation with PTA

7:25 p.m.

Q&A Session

7:40 p.m.

Dinner at Du-par’s Restaurant

Food + Introduction to PTA + Movie Trailers

The festival provides transportation to the restaurant and back.

The bus leaves back to the festival's location at 9:30 p.m.

The drive to Du-par's Restaurant is around 35 minutes from the festival location

BOOGIE NIGHTS FILMING LOCATION Eddie, with Amber Waves (Julianne Moore) and Rollergirl (Heather Graham), is whisked off to a late-night restaurant, where Jack Horner expounds his messianic vision of adult cinema­“ It is my dream to make a film that is true and right and dramatic.”

Du-par's Restaurant, 12036 Ventura Boulevard, Studio City, just off Laurel Canyon Boulevard as you enter the Valley from Hollywood, is open 24 hours a day, serving up hearty breakfasts and pies since 1938.

Day 1 june 26

DAMAGED GOODS

The film festival location

Wounded souls in search of self and family re-creation in the most unlikely places

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June 26 – 28 Film Festival, 2017

Act. 03

Paul Thomas Anderson

June 27 12:00 p.m.

Opening Reception

12:45 p.m.

There Will Be Blood

3:10 p.m.

Intermission

3:40 p.m.

Punch-Drunk Love

5:15 p.m.

Conversation with PTA

5:30 p.m.

Q&A Session

5:45 p.m.

Trip to Miss Donuts

Food + Introduction to PTA + Movie Trailers

Day 2 june 27 The festival provides transportation to the restaurant and back.

The bus leaves back to the festival's location at 7:00 p.m.

BOOGIE NIGHTS FILMING LOCATION A little further west along Sherman Way, the life of Buck Swope (Don Cheadle) is turned around when witnesses the bloodily bungled robbery at Miss Donuts, 18231 Sherman Way, near Etiwanda Avenue.

The drive to Du-par's Restaurant is around 15 minutes from the festival location

DAMAGED GOODS

MAGNOLIA FILMING LOCATION Quiz Kid Donnie (William H. Macy) comes clean at the bar: Foxfire Room, Magnolia Boulevard, Valley Village, San Fernando Valley.

Wounded souls in search of self and family re-creation in the most unlikely places

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Act. 03

Paul Thomas Anderson

June 28 10:30 p.m.

Opening Reception

11:15 p.m.

Magnolia

2:25 p.m.

Intermission

3:25 p.m.

Boogie Nights

6:30 p.m.

Conversation with PTA

7:00 p.m.

Q&A Session

7:30 p.m.

Drinks at Foxfire Room

Food + Introduction to PTA + Movie Trailers

The festival provides transportation to the restaurant and back.

The bus leaves back to the festival's location at 11:00 p.m.

The drive to Du-par's Restaurant is around an hour from the festival location

Day 3 june 28

DAMAGED GOODS

K

Wounded souls in search of self and family re-creation in the most unlikely places

Things to Do

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Act. 03

Paul Thomas Anderson

Valley Performing Arts Center

Candy Cane Lane

Valley Relics Museum

POI: Theaters, Concerts & Shows Address: 18111 Nordhoff St, Los Angeles, CA 91330

POI: Historic Walking Areas, Landmarks Address: Lubao Avenue and Oxnard Street, Los Angeles, CA 91367

POI: Specialty Museums Address: 21630 Marilla St, Los Angeles, CA 91311

www.valleyperformingartscenter.org

www.valleyrelicsmuseum.org

Freak’s Antiques

The Nethercutt Collection Corriganville Movie Ranch POI: Nature & Parks Address: 7001 Smith Rd, Simi Valley, CA 93063

POI: Antique Stores, Shopping Address: 7223 Owensmouth Ave, Los Angeles, CA 91303

Rec. length of visit: 1–2 hours

POI: Specialty Museums Address: 15151 Bledsoe St, Sylmar, Los Angeles, CA 91342 Rec. length of visit: 1–2 hours www.nethercuttcollection.org

www.freaksantiques.com

Winnetka Bowl POI: Bowling Alleys Address: 20122 Vanowen St, Los Angeles, CA 91306 Rec. length of visit: 2–3 hours www.winnetkabowl.net

Stoney Point Park POI: Nature & Parks Address: Topanga Canyon Blvd, Los Angeles, CA 91311 Rec. length of visit: More than 3 hours www.laparks.org/parks

Lake Balboa Park POI: Nature & Parks Address: 6300 Balboa Blvd., Los Angeles, CA 91406 www.laparks.org/aquatics

Santa Susana Depot Museum Mission San Fernando POI: Specialty Museums Address: 15151 San Fernando Mission Blvd., Los Angeles, CA www.missiontour.org

POI: Specialty Museums Address: 6503 Katherine Rd, Simi Valley, CA 93063 Rec. length of visit: 1–2 hours www.santasusanadepot.org

DAMAGED GOODS

56

Wounded souls in search of self and family re-creation in the most unlikely places

Places to Eat

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Paul Thomas Anderson

8

9

1

2

3

4

5

6

7

House of Bread

Fast Taco

WaBa Grill

Pho Saigon 1

Stonefire Grill

Cicek’s Chicken

San Carlo Ital- Pockets ian Del Sandwich

Les Sisters Southern BBQ

$$ Bakeries Address: 20507 Devonshire St Chatsworth, CA 91311

$

$$ Fast Food, Asian Fusion Address: 21534 Devonshire St. Chatsworth, CA 91311

$$ Vietnamese Address: 21701 Devonshire St Chatsworth, CA 91311

$$ Barbecue, Salad, American (Traditional) Address: 9229 Winnetka Ave Chatsworth, CA 91311

$

$

$

Mediterranean Address: 10347 Mason Ave Chatsworth, CA 91311

Delis, Pizza, Sandwiches Address: 10178 Mason Ave Chatsworth, CA 91311

Sandwiches Address: 9840 Topanga Canyon Blvd, Chatsworth, CA 91311

$$ Cajun/Creole, Southern, Soul Food Address: 21818 Devonshire St Chatsworth, CA 91311

(818) 885-0209

Mexican Address: 20865 Lassen St Chatsworth, CA 91311 (818) 700-9491

(818) 709-2066 (818) 678-6607

(818) 709-7098 (818) 534-3364

(818) 727-0890

(818) 718-2380

(818) 998-0755

DAMAGED GOODS

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Places to Stay Best Western Canoga Inn Super 8 Canoga Park Address: 7631 Topanga Canyon Blvd, Canoga Park, CA, 91304 www.wyndhamhotels.com/ Super-8/CanogaPark

Wounded souls in search of self and family re-creation in the most unlikely places

Address: 20122 Vanowen Street, Winnetka, CA www.bestwestern.com/ CanogaParkMotorInn

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Travelodge Chatsworth Address: 21603 Devonshire St, Chatsworth, CA, 91311

Extended Stay LA Address: 19325 Londelius St, Northridge, CA, 91324 www.extendedstayamerica. com/

www.wyndhamhotels.com/ travelodge

Radisson Hotel Address: 9777 Topanga Canyon Blvd, Chatsworth, CA, 91311 www.reservations.com

Staybridge Suites

Airtel Plaza Hotel

Address: 21902 Lassen St, Chatsworth, CA, 91311

Address: 7277 Valjean Ave, Van Nuys, CA, 91406

www.staybridge.com/ Chatsworth

www.airtelplaza.com/ Van-Nuys-CA

DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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6 Film-making Tips From

Paul Thomas Anderson 1

It’s playing a prank on real life in service of finding a fictional 2

Film-making Tips From Paul Thomas Anderson

The director has grown from a young man fascinated by the nondescript buildings with porn being shot inside to a formidable creator, exploring twists on religion and family.

He’s got film fans in his palm, which makes every new project he releases an event.

But he still remembers to wait until the coffee is poured.

So here is a bit of free film school (for filmmakers and fans alike) from a 70mm heavyweight.

Treat the Book Your Adapting as a Collaborator “…With There Will Be Blood, I didn’t even really feel like I was adapting a book. I was just desperate to find stuff to write. I can remember the way that my desk looked, with so many different scraps of paper and books about the oil industry in the early 20th century, mixed in with pieces of other scripts that I’d written. Everything was coming from so many different sources. But the book was a great stepping-stone.

It was so cohesive, the way Upton Sinclair wrote about that period, and his experiences around the oil fields and these independent oilmen.

3 Film-making Tips From Paul Thomas Anderson

That said, the book is so long that it’s only the first couple hundred pages that we ended up using, because there is a certain point where he strays really far from what the original story is.

We were really unfaithful to the book.

[Laughs.] That’s not to say I didn’t really like the book; I loved it. But there were so many other things floating around. And at a certain point, I became aware of the stuff he was basing it on.

What he was writing about was the life of [oil barons] Edward Doheny and Harry Sinclair. So it was like having a really good collaborator, the book.”

Granted, Anderson admits to not faithfully adapting the work, so there’s a big grain of salt that comes with this advice depending on what your goal is with a particular adaptation.

In the same vein, that interview offers an intimate insight into how he treats collaborators. Specifically, the period of time he and Daniel Day-Lewis spent getting to know each other, considering how close they’d be working for an extended amount of time. That kind of connection—one built from not talking about the movie—must have been an asset when they spent the first two weeks of the project filming terrible takes that Anderson never wants to show anyone.

Be Selective with Actors Because a Bad One Will Mean More Work

4 Film-making Tips From Paul Thomas Anderson

This may seem like both a no-brainer “When I wrote Magnolia, I was writing and an impossibility on the micro for the actors, so I could hear it my level. If your only resource is the local head how they might do it, and I was acting pool, finding impressive talent writing it with that advantage. But actors don’t scare me—you know what might be something a bit beyond your reach—especially since a low budget scares me? Bad actors scare me. means not having the green resources A good actor is like watching a great musician, but having a bad actor terri- to draw in the best. Bad actors are usually free (or cheap). That’s why this fies me, because it means I’ve got to find something to say or something is an especially important tip. It’s more of a reminder to hold out for the best to do. And that’s really frustrating, because you want to be concentrating possible people (no matter what that means in your situation). It may be hard, on everything, and instead you find it may even delay your film, but it’ll be yourself bogged down with helping someone know their lines or not bump worth it when you’re not strangling into the furniture, and that’s when you people on set. want to strangle them.

By the way, the “you” of that quotation I got really lucky that the first real actor is Lars von Trier. The two are interviewthat I worked with was Philip Baker Hall. ing each other, and the entire thing is unsurprisingly worth the read.

Coming out of the gate, that was like somebody who, instantly, is right there for you, who wants to work with you and certainly not against you. And so I think I got a bit spoiled sense that this is the way that it should go, and then I’m shocked when Burt Reynolds shows up, or someone like that… I think you secretly love actors.”

Short Films Can Be a Good Way to Get Started. Put On a Good Show First

Growing a Mustache and Riffing on Cops Could Lead You to Brilliance

So you’ve got all these complex ideas about life and love and the universe and the meaningofitall and everything?

Great. But don’t forget to entertain.

“That stuff [that led to John C. Reilly’s character in Magnolia] happened about three or four years ago, during one summer when we were really bored, and [Reilly] had grown a mustache and it just made me laugh.

He would do this character, this guy who was on Cops, and I had a video camera and we’d drive around and improvise, and call up actors who weren’t working at the time, so we’d call up Phil Hoffman and say, go to Moore Park and fuck with the trash cans and we’ll drive by in ten minutes and catch you doing it. Then we got a cop uniform and improvised all these altercations. And eventually I started writing all that stuff down. A lot of Jim’s dialogue is based on that improvisation, like the Mike Leigh style. It really is a pretty fucking cool way to work. We’ve gotta try that again.”

“Of course, I’m no dummy. But there’s a trap you can fall into. If you set out to make a movie about oil and religion I’m not sure you wouldn’t crash the car.

Fuck! It’s a movie first. You have to put on a good show first, I think.”

5 Film-making Tips From Paul Thomas Anderson

It’s great that there’s a sense of adventure here, a little danger (like, say, if they’d been caught impersonating a police officer) and an awareness of what potential a character like that could have. It’s playing a prank on real life in service of finding a fictional story.

Of course, being film-minded enough to know who Mike Leigh is a good start.

What You Can Learn From Pornography. What Have We Learned For those who maybe haven’t heard him speak, it might have been surprising to hear so many fundamental, practical pieces of advice, but Anderson is as far away from an airy, artsy type as one can be. He’s also incredibly literate.

That’s important to keep in mind, because a No Bull Shit attitude is a great tool to have, but it hits the nail harder if you know how to wield it.

Anderson’s talent is stellar, and it’s difficult to get into the details on his day-to-day writing process, but that idea of entertaining first and delivering ideas second is paramount. An attention to detail, as shown in the opening moments of Cigarettes & Coffee, is also key.

So get the best actors you can, make connections with collaborators (even if it’s with a book) and go be idiotic with your friends. You never know what it might lead to.

6 Film-making Tips From Paul Thomas Anderson

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Paul Thomas Anderson

I'm completely aware of the fact that I'm a control freak.

—PTA

All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means—digitally or physically—without permission from the owner

© Alma Kamal, 2016.

This book was designed and printed in San Francisco, CA for a project at the Academy of Art University (AAU) The typefaces used are Siri and Kepler The paper used to print this book is Mohawk Superfine Eggshell, Ultrawhite

almakamal@yahoo.com www.behance.net/alma-k

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DAMAGED GOODS

Wounded souls in search of self and family re-creation in the most unlikely places

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