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YOU ARE THE LIGHT OF THIS EVENT.

Sundamaged presents 5 out of 8 P.T. Anderson's feature films. In a painful reality lies a glimpse of hope in the lives of these fictional characters. Feel free to dress up as the character featured on your mobile ticket or choose one from your favorite film.

1 2 Introduction

Featured Films

1 .0

SCHEDULE

2 .0

INHE RE NT VICE

1 .1

DIRECTOR BIOGRAPHY

2 .1

BOOGIE NIGHTS

2.2

PUNCH DRUNK LOVE

2.3

THE MASTE R

2.4

THE RE WILL BE BLOOD

3

Extras & More

3.0

CREDITS

1.0 Introduction 1 .0

SCHEDULE

1 .1

DIRECTOR BIOGRAPHY & FILMOGRAPHY

SCHEDULE

THURSDAY aug, 26

friday aug, 27

saturday aug, 28

2PM

4PM

INHERENT VICE

PUN

2 : 1 5 PM 2h 28 mins

4:30 1h 35

INHERENT VICE

THE

2 : 3 5 PM 2h 28 mins

5:00 2h 18

PUNCH DRUNK LOVE

THERE WILL

2 : 1 5 PM 1h 35 mins

4 : 0 0 PM 2h 38 mins

8PM

NCH DRUNK LOVE

0 PM 5 mins

MASTER

0 PM 8 mins

BE BLOOD

THERE WILL BE BLOOD

6 : 1 5 PM 2h 38 mins

BOOGIE NIGHTS

9:10 PM 2h 35 mins

THE MASTER

6 : 5 0 PM 2h 18 mins

12 AM

YOU CAN TELL A LOT AB WHAT THEY ORDER FOR - PAU L T H O M A S A N D E R S O N

1 . 0 PAU L T H O M A S A N D E R S O N B I O G R A P H Y

BOUT A PERSON BY BREAKFAST. P

aul Thomas Anderson was born June

Phantom Thread (2017). Each film has received

26, 1970, in the San Fernando Valley of

significant critical acclaim, and Anderson has twice

Los Angeles, California. He would go

been nominated for the Academy Award for Best

on to set many of his films in the valley. He is

Director (for There Will Be Blood and Phantom

one of nine children, and his father, Ernie, was

Thread). Anderson has not publicly discussed his

an actor who read announcements for ABC and

next project, but it is rumored to be a historical

was the host of the Cleveland edition of Shock

work on the Little Harlem community of 1940s Los

Theater. Anderson made short films from a young

Angeles, made in collaboration with comedian

age, most notably The Dirk Diggler Story, which

Tiffany Haddish. Anderson is in a long-term

would eventually serve as the basis for Anderson’s

relationship with comedian Maya Rudolph.

breakout hit Boogie Nights (1997). Anderson briefly attended several colleges but dropped out of all of them after a short period. After leaving NYU’s film program after only two days, Anderson made a short film called Cigarettes and Coffee with the money he had intended to spend on his tuition. The film garnered significant attention at the 1993 Sundance Film Festival, eventually paving the way for him to make his feature debut, Hard Eight (1996).

The next year, he released Boogie Nights, launching his career in earnest and earning him an Academy Award nomination for Best Original Screenplay he would go on to be nominated for the award again two years later for Magnolia and for Adapted Screenplay for both There Will Be Blood (2007) and Inherent Vice (2014).

He followed Boogie Nights with Magnolia (1999), Adam Sandler collaboration Punch Drunk Love (2002), There Will Be Blood (2007), The Master (2012), Inherent Vice, and most recently 11

Filmography C I GA R E T T E S & CO F F E E (1 9 9 3) H A R D E I G H T (1 9 9 6) BO O G I E N I G H TS (1 9 9 7 ) M AG N O L I A (1 9 9 9) P U N C H D RU N K LOV E (2 0 0 2) T H E R E W I L L B E B LO O D (2 0 0 7 ) T H E M A S T E R (2 0 1 2) I N H E R E N T V I C E (2 0 1 4) J U N U N (2 0 1 5 ) P H A N TO M T H R E A D (2 0 1 7 ) A N I M A (2 0 1 9) S U N DA M AG E D F I L M F E S T I VA L 2 0 2 2

2

Featured Films 2 .0

INHE RE NT VICE

2 .1

BOOGIE NIGHTS

2.2

PUNCH DRUNK LOVE

2.3

THE RE WILL BE BLOOD

2.4

THE MASTE R

I NH ERE NT V ICE

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2014

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7 : 4 0 PM

inherent vice 2014

Crime, Comedy, Drama

2h 28 mins

Rated R

Inherent Vice tells storie and minorities, capitalis and America at large...

In a California beach community, private detective Doc Sportello tends to work his cases through a smoky haze of marijuana.

One day, a former lover, comes out of the blue to plead for Doc’s help; it seems that her current beau, real-estate tycoon Mickey Wolfmann, has a wife who may be plotting to commit him to a mental hospital. When Mickey and Shasta both go missing, Doc navigates a world of surfers, stoners and cops to solve the case.

2 .0 INHERENT VICE

es about race sm AND inequality, A

story this weird set 40 years ago seems unlikely to have anything to say about the US circa 2014, and admittedly nothing in

the paragraph above resembles reality – much less our world of iPhones and internet.

Inherent Vice tells stories about race and minorities, capitalism and inequality, and America at large, a bit like how John Steinbeck’s Grapes of Wrath has plenty to say about the modern US from the vantage point of the 1930s. Steinbeck said everything loudly and simply; Pynchon says most of it indirectly – through pop culture allusions in Vineland, latitude lines and a pot-smoking George Washington in Mason & Dixon, and actual rocket science in Gravity’s Rainbow.

With this in mind, the background and bit players of Inherent Vice take on a little more depth than their weird names suggest. Recent memories of the 1965 Watts race riots keep tensions high between conservative whites and black characters, and the story occasionally looks about ready to veer into the territory of militant black power groups and gangs of

ter’s neighbourhood is bowdlerised for cookie-cut-

well-armed white men hired by the LAPD to keep

ter homes and a shopping mall, and the book’s

those groups down. Aside from Doc’s nemesis, the

villains are real estate moguls, who force minorities

rogue detective Bigfoot B Jornsen, the police are

out and fight to boost their property values – actions

untouchable and the justice system consistently

not wholly dissimilar from what’s called gentrifi-

rigged – themes taken up by protesters all over the

cation today. The billionaires also prove insatiable,

US this year in the aftermath of police killings. The

forever competing to carve up and cannabalise land

novel also illustrates the insidious consequences of

into ever smaller parcels, at residents’ expense – an

“development”. One black character’s neighbour-

American tradition inaugurated by the first settlers,

hood is bowdlerised for cookie-cutter homes and a

who claimed to own land already lived in.

shopping mall, and the book’s villains are real estate moguls, who force minorities out.

The novel also illustrates the insidious consequences of “development”. One black charac17

S U N DA M AG E D F I L M F E S T I VA L 2 0 2 2

I NH ERE NT V ICE

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BOOGIE NIGHTS 1993

Crime, Comedy, Drama

2h 35 mins

Rated R

a large, colorful & curio of characters as they li turning point in the adul

P

aul Thomas Anderson’s “Boogie Nights’’

tic,’’ and less hope at the end. “Boogie Nights’’ tells

is an epic of the low road, a classic Holly-

this story through the life of a kid named Eddie

wood story set in the shadows instead

Adams (Mark Wahlberg) from the San Fernando

of the spotlights but containing the same ingre-

Valley, who is a dishwasher in a Hollywood night-

dients: Fame, envy, greed, talent, sex, money.

club when he’s discovered by a Tiparillo-smoking

The movie follows a large, colorful and curiously

pornographer named Jack Horner (Burt Reynolds).

touching cast of characters as they live through a

“I got a feeling,’’ Jack says, “that behind those

crucial turning point in the adult film industry.

jeans is something wonderful just waiting to get

In 1977, when the story opens, porn movies

out.’’ He is correct, and within a few months Eddie

are shot on film and play in theaters, and a direc-

has been renamed “Dirk Diggler’’ and is a rising

tor can dream of making one so good that the

star of porn films.

audience members would want to stay in the

If this summary makes the film itself sound a

theater even after they had achieved what they

little like porn, it is not. Few films have been more

came for. By 1983, when the story closes, porn

matter-of-fact, even disenchanted, about sexuality.

has shifted to video and most of the movies are

Adult films are a business here.

basically just gynecological loops. There is hope, at the outset, that a porno movie could be “artis2 .1 B O O G I E N I G H T S

ously touching cast ive through a crucial ult film industry.

In the San Fernando Valley in 1977, teenage busboy Eddie Adams gets discovered by porn director Jack Horner, who transforms him into adult film sensation Dirk Diggler. Brought into a supportive circle of friends, including fellow actors Amber Waves, Rollergirl & Reed Rothchild, Dirk fulfills all his ambitions, but a toxic combination of drugs and egotism threatens to take him back down.

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PUNCH DRUNK LOVE 2004

Crime, Comedy, Drama

2h 28 mins

Rated R

Punch-Drunk Love is abo sudden, unsettling erupt self-knowledge into his Although susceptible to violent outbursts, bathroom supply business owner Barry Egan is a timid and shy man by disposition, leading a lonely, uneventful life partly due to the constant berating he suffers from his seven sisters.

However, several events transpire that shake up Egan’s mundane existence, one of which is falling in love with one sister’s co-worker, Lena Leonard. But the romance is threatened when Egan falls victim to an extortionist.

2 . 2 P U N C H D R U N K LOV E

out the tion of grace, love & s sad, chaotic life T

he instrument is picked up by Barry Egan (Mr. 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 supermar-

ket 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,

hend the tears, the rages and the tremulous,

lobotomized self-control.

mumbling weirdness that are partly the results of

Barry is socially maladroit, emotionally cross-

their abuse. As if the seven sisters were not bad

wired and a little creepy-looking -- a loser, in short

enough, Barry is soon harassed by four blond

-- and ‘’Punch-Drunk Love’’ is about the sudden,

brothers (played by four actual blond brothers)

unsettling eruption of grace, love and self-knowl-

dispatched from Utah by a crooked, self-righ-

edge into his sad, chaotic life. The harmonium is

teous phone-sex entrepreneur named Dean (Philip

a portent for the arrival of Lena Leonard (Emily

Seymour Hoffman). In a moment of acute loneli-

Watson), a shy, whispery woman who works with

ness, before Lena came into his life, Barry had

one of Barry’s seven sisters (Mary Lynn Rajskub)

surrendered his credit card number and other vital

and who elects, against all reason but with sublime

information to one of Dean’s employees, and he

decisiveness, to fall in love with Barry.

has now become the patsy in a brutal extortion

Of course, the laws of romantic comedy and

scheme. No mere plot summary can do justice to

Mr. Anderson’s delight in choreographing distress

the wild, sweet pleasures of ''Punch-Drunk Love,''

-- dictate that the path to love be strewn with

which will be shown tonight at the festival. Ms.

obstacles. First of all, there are those seven sisters

Watson, her blue eyes nearly as wide as the screen

(played by Ms. Rajskub and six nonprofessionals, four

(and the movie is in an unusually wide format), has

of them real-life blood relations). They subject

a smart, quiet oddness that plays beautifully off Mr.

their brother to a constant stream of teasing,

Sandler's somersaulting bipolarity.

humiliation and betrayal, and they can’t compre29

S U N DA M AG E D F I L M F E S T I VA L 2 0 2 2

-LENA LEONARD 31

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THERE WILL BE BLOOD 2008

Crime, Comedy, Drama

2h 28 mins

Rated R

THERE WILL BE BLOOD inten male, a story of male tox female dimension.

Ruthless silver miner, turned oil prospector, Daniel Plainview moves to oil-rich California. Using his adopted son HW to project a trustworthy, family-man image, Plainview cons local landowners into selling him their valuable properties for a pittance. However, local preacher Eli Sunday suspects Plainviews motives and intentions, starting a slow-burning feud that threatens both their lives.

2 .3 T H E R E W L L B E B LO O D

nsely, disconcertingly xicity without any real T

he title is a prophecy, a warning, or a

No one other than Day-Lewis could have carried

vengeful supernatural pronouncement.

it off. The film is also intensely, disconcertingly

Paul Thomas Anderson’s strange

male, a story of male toxicity without any real

masterpiece, freely adapted by him from Upton

female dimension. As a rich man, Plainview

Sinclair’s 1927 novel Oil, is a tragic parable

is marooned in a huge, dark mausoleum of a

of man’s dependence on this commodity:

house, boasting with black-comic savagery that

formerly the lubricant of commercial triumph

he will suck up every competitor’s oil like

and technological innovation, and now the

a milkshake.

dwindling lifeblood of our material prosperity,

This scene, along with one showing Plainview

the unacknowledged driving force of our military

theatrically driving a stake through a claim map

conflicts, and even the cause of a coming

in front of investors, is perhaps there to make us

ecological catastrophe. That dark title threatens

think of Welles’s Charles Kane, the entrepreneur

a calamity now visible on the horizon: destruc-

as performative capitalist, bully and showoff.

tion of the Earth itself. And it is all inscribed in the story of the movie’s leading character, a man with the Bunyanesque name of Daniel Plainview.

Daniel Day-Lewis gives perhaps the greatest, certainly the most exotic performance of his career as an oil prospector in the early 20th century, rewarded with colossal wealth that never gives him the smallest pleasure and serves only to amplify the loneliness, paranoia and resentment that were there from the very beginning. Day-Lewis seems to have unlocked this character’s mystery by seizing on a voice: a robust, cantankerous Scots-Irish accent that he has modified from John Huston (a borrowing that itself may have a subtextual reminder of Huston directing The Treasure of the Sierra Madre). As a poor man, Plainview is seen hacking fanatically away in a silver mine, to the accompaniment of an eerie, atonal score by Radiohead’s Jonny Greenwood: he accidentally discovers oil, like the apes at the beginning of Kubrick’s 2001 discovering their opposable thumbs.

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THE MASTER 2012

Drama

2h 18 mins

Rated R

It’s not a work of psycho one of the extravagantly masquerading as natural Freddie Quell is a troubled, boozy drifter struggling with the trauma of World War II and whatever inner demons ruled his life before that.

On a fateful night in 1950, Freddie boards a passing boat and meets Lancaster Dodd, the charismatic leader of a religious movement called the Cause. Freddie tries hard to adhere to Dodd’s weird teachings and forms a close bond with his mentor, even as other members of Dodd’s inner circle see him as a threat.

2 .4 THE MASTER

ological realism but y stirring symbolism lism...

T

he haunting, utterly inward stillness

and to channel it. Hoffman, by contrast, is one of

of the actors in “The Master” is one of

the great technicians, an impersonator of genius

the director Paul Thomas Anderson’s

who harnesses his inner life to his craft in order to

most apparent achievements, and it’s no mere

infuse the skillful imitations with emotional force.

ornament or element of dramatic plausibility—

But Hoffman doesn’t turn up for a while. The

it’s at the core of the film, as is the very question

movie begins with Quell’s waning days in the

of performance as such. I’ve seen the movie twice,

service at the end of the Second World War, his

which proved important. The first time, I found

mental and spiritual damage coming to the fore

myself wondering about what it isn’t; the second, I

as sexual obsession and a taste for the poisonous-

was all the more struck by what it is. It’s not a work

ly strong drink that he concocts out of chemicals at

of psychological realism but one of extravagant-

hand. And the first thing about Quell that Ander-

ly stirring symbolism masquerading as naturalism,

son reveals is the damage his tormented psyche

and the first symbols that it sets in motion are the

has wrought on his physiognomy. Phoenix has

actors themselves.

gotten very thin for the role, paring away softness

“The Master” is a grudge match between two

to expose the fractured angles of his cheeks

styles of performance; the essence of the story is

and his bladelike jawbones; with his shoulders

found in the casting of Joaquin Phoenix as Freddie

hunched, his neck thrown back, and his head tilted

Quell, a traumatized, shell-shocked Navy veteran,

down, his eyes seem to look through his very brow,

and of Philip Seymour Hoffman as Lancaster Dodd,

as if he never quite sees what he’s looking at. In

the author and founder of a therapeutic cult, who

closeup (and he’s often in closeup), his right upper

takes Quell under his wing. Phoenix may have

lip appears to be paralyzed; it distorts his voice into

formidable technique but he doesn’t let it show

a quiet, vowel-strewn cry.

and doesn’t need it; he’s an actor of furious natural

The exquisite, obsessive attention to

emotion, of inner violence with which his very

physical detail issues from one of Anderson’s

being trembles as he struggles to keep it in check

key decisions—to shoot in the large format of

41

S U N DA M AG E D F I L M F E S T I VA L 2 0 2 2

3

Extras & More

3.0

CREDITS

BOOGIE NIGHTS (CREDITS) Principle Cast

Mark Wahlberg

Eddie Adams

Produced By

Paul Thomas Anderson Producer

Julianne Moore

Michael De Luca

Amber Waves

Co-Executive Producer

Burt Reyholds

Lawrence Gordon

Jack Horner

Executive Producer

Heather Graham

Lynn Harris

Rollergirl

Co-Executive Producer

John C. Reily

Lloyd Levin

Reed Rothchild

Co-Executive Producer

Philip Seymour Hoffman

Daniel Lupi

Scotty J.

Co-Producer

Luis Guzman

John S. Lyons

Maurice T.T. Rodriguez

Producer

William H. Macy

JoAnne Sellar

Coy Harlingen

Producer

Don Cheadle

Director

Paul Thomas Anderson

Writer

Paul Thomas Anderson

Buck Swope

3 .0 CREDITS (BOOGIE NIGHTS)

1997 Music By

Michael Pen

Casting By

Christine Sheaks

Art Direction By

Ted Berner

Film Editing

Dylan Tichenor

Costume Design

Mark Bridges

Production Design

Bob Ziembicki

Set Decoration

Sandy Truth

47

Cinematography By

Robert Elswit Director of Photography

S U N DA M AG E D F I L M F E S T I VA L 2 0 2 2

INHERENT VICE (CREDITS) Principle Cast

Benicio Del Toro

Sauncho Smilax

Produced By

Paul Thomas Anderson Producer

Jena Malone

Eli Bush

Hope Harlingen

Co-Producer

Joaquin Phoenix

Albert Chi

Larry “Doc” Sportello

Co-Producer

Josh Brolin

Daniel Lupi

Lt. Det. Christian F.

Producer

“Bigfoot” Bjornsen Steven Mnunchin Katherine Waterston

Executive-Producer

Shasta Fay Hepworth Scott Rudin Martin Short

Executive-Producer

Dr. Blatnoyd JoAnne Stellar Maya Rudolph

Producer

Petunia Leeway Adam Somner Owen Wilson

Executive-Producer

Coy Harlingen Reese Witherspoon

Director

Paul Thomas Anderson

Writer

Thomas Pynchon

Penny

Paul Thomas Anderson

3.0 CREDITS (INHERENT VICE)

2014 Film Editing

Leslie Jones

Costume Design

Mark Bridges

Production Design

William Arnold

Set Decoration

Jay Hart

Music By

Jonny Greenwood

Casting By

Cassandra Kulukundis

Art Direction By

Ruth De Jong

49

Cinematography By

Robert Elswit Director of Photography

Lory A. Noyes

S U N DA M AG E D F I L M F E S T I VA L 2 0 2 2

THE MASTER (CREDITS) Principle Cast

Joaquin Phoenix

Freddie Quell

Produced By

Price Carson

Paul Thomas Anderson Freddie Quell

Albert Chi

V.A. Doctor

Associate Producer

Mike Howard

Daniel Lupi

Rorschach Doctor

Producer

Sarah Shoshana David

Megan Ellison

V.A. Nurse

Producer

Bruce Goodchild

JoAnne Sellar

V.A. Doctor

Producer

Matt Hering

Ted Schnipper

V.A. Patient

Producer

Dan Anderson

Will Weiske

V.A. Patient

Producer Adam Somner Producer

3.0 CREDITS ( THE MASTER)

Director

Paul Thomas Anderson

Writer

Paul Thomas Anderson

2014 Music By

Jonny Greenwood

Casting By

Cassandra Kulukundis

Art Direction By

Sue Chan

Film Editing

Leslie Jones

Costume Design

Mark Bridges

Production Design by

David Crank

51

Cinematography By

Mihai Malaimare Jr.

Set Decoration By

Amy Wells

Director of Photography

Peter McNulty

Jack Fisk

S U N DA M AG E D F I L M F E S T I VA L 2 0 2 2

THERE WILL BE BLOOD (CREDITS) Principle Cast

Daniel Day Lewis

Daniel Plainview

Produced By

Paul Thomas Anderson Producer

Martin Stringer

Eric Schlosser

Silver Assay Worker

Executive Producer

Matthew Braden Stringer

JoAnne Sellar

Silver Assay Worker

Producer

Jacob Stringer

Scoot Rudin

Silver Assay Worker

Executive Producer

Joseph Mussey

David Williams

Silver Assay Worker

Executive Producer

Barry Del Sherman

Daniel Lupi

H.B. Ailman

Producer

Harrison Taylor Baby H.W.

Director

Paul Thomas Anderson

Writer

Upton Sinclair

Stockton Taylor Baby H.W. Paul F. Tompkins Prescott Dillon Freasier H.W.

3 . 0 C R E D I T S ( T H E R E W I L L B E B LO O D)

Novel Paul Thomas Anderson

2007 Music By

Jonny Greenwood

Casting By

Cassandra Kulukundis

Art Direction By

David Crank

Film Editing

Dylan Tichenor

Costume Design

Mark Bridges

Production Design by

Jack Fisk

53

Cinematography By

Mihai Malaimare Jr.

Set Decoration By

Jim Erickson

Director of Photography

S U N DA M AG E D F I L M F E S T I VA L 2 0 2 2