Paul Thomas Anderson

10 Long Movies We Can’t Get Enough Of

By David Zou

Length in filmmaking doesn’t always necessarily translate to quality. Some filmmakers can overindulge their ideas and end up creating sprawling messes; the narrative of other films can meander too much and lose the interest of its audience.

While an average feature film length will hover around the 90-120-minute mark, what’s most important is what time is needed to craft the best film a director can: Paul Thomas Anderson made the lengthy and dense Boogie Nights and Magnolia before deciding to make the much-shorter Punch-Drunk Love in response to his previous exertions; all are great and the needs of the films suited their eventual running times.

When a film does use its length productively, the results can be excellent. This list looks at 10 such long films that audiences have responded greatly to, and each never falters in its length, and are often masterful because of it.

1. Short Cuts (188 minutes)

short cuts tom waits

For a film based on nine short stories by Raymond Carver, perhaps a running time of 189 minutes was still not enough. Short Cuts (1993) follows 22 different characters playing out their distinct lives and at various moments of connection.

It’s formally audacious and innovative yet Robert Altman ties it all together; the length never feels stretched, and one would be happy to spend more time considering these characters on screen.

Altman had experimented before with overlapping storylines in his work, with satirical extravaganza Nashville, and Carver’s stories were the perfect platform for him to do it again. Altman makes us want to study these characters. Some actually interact with one another; others merely pass by in the smallest of moments.

With a film of this scope, casting was of paramount importance, and the actors are resoundingly excellent, including Jennifer Jason Leigh as → continue…

From:: Taste Of Cinema

7 Reasons Why Paul Thomas Anderson Should Win Best Director Oscar This Year

By Andreas Babiolakis

2017 kept its greatest work toward the end of the year. This went as expected; many producers and studios try to get their most proud work recognized during the awards season. One film that definitely made an impact was the secretive “Phantom Thread” by Paul Thomas Anderson. All we knew about the film was that it is apparently the last performance of Daniel Day-Lewis’s brilliant career.

Otherwise, we didn’t get a single piece of promotional material until the winter release date was looming over our heads; it was almost as if the film wouldn’t arrive at all. This isn’t unusual for Anderson, who has hidden behind the spotlight of other films while “The Master” seeped into the forefront from out of nowhere.

“Phantom Thread” worked the same way. This works because we have come to expect great things from the Californian director, whose canon is possibly one of the most solid you can find today (“Hard Eight,” “Boogie Nights,” “Magnolia,” “Punch-Drunk Love,” “There Will Be Blood,” The Master” and “Inherent Vice”). That isn’t an unranked top 10 list. I simply spewed out the films he made in order, and the quality from all of the above says enough that it could be mistaken for either.

When it comes to “Phantom Thread,” whose lush qualities have the cinematic world in a stranglehold, it is a typical day at the office for PTA. In terms of how it sits in the scope of 2017’s films, it certainly is one of the best of the year. When you look at Anderson’s directorial work on the film, it is actually difficult to argue against the notion that it may possibly be the best direction in a film from 2017.

1. He accurately portrays the highs and lows of the fashion industry


Like every → continue…

From:: Taste Of Cinema

“Initially it Seemed Impossible”: DP Greta Zozula on Never Goin’ Back

By Filmmaker Staff

Actor and filmmaker Augustine Frizzell made her debut as a feature director at Sundance this year with Never Goin’ Back, the shaggy-dog story of two teenage friends played by Maia Mitchell and Camila Morrone. Frizzell has appeared as an actor in the films of David Lowery (her husband) in addition to Krisha and a number of shorts. She tapped DP Greta Zozula to shoot the script, which she also wrote. Filmmaker spoke with Zozula ahead of the film’s premiere in the Midnight lineup about the perils of shifting daylight, the influence Paul Thomas Anderson and the film’s strategic use of handheld camerawork. Filmmaker: How […] → continue…

From:: Filmmaker Magazine