Thursday, 30 August 2012
Watch A New 30-Second TV Spot; LA Arclight 70mm Tix Onsale Now
A new 30 second TV spot for "The Master" entitled "Truth" has arrived via Fandango though we're having trouble keeping track at this point on what is new footage and what's been previously released. It's pretty nice, regardless and will probably be the first of many.
We also have a little ticketing news for you folks in NY and LA. Tickets for the 70mm showings of "The Master" on opening weekend at the Arclight Dome are now onsale. Click now because they will be going fast. In NYC, it looks like the film will be playing exclusively in 70mm (just waiting on confirmation) at the Village East Cinema on 9/14 and expanding wider on 9/21 including another 70mm spot at the Cinemas 1, 2 & 3 uptown. Tickets should go onsale "in the coming weeks" according to the theatre. Will let you know when we know more. Stay tuned to Twitter for the latest updates.
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Wednesday, 29 August 2012
Amy Adams Talks ‘The Master' On Letterman; New Clip Arrives
Amy Adams was the first from "The Master" crew to hit the talk show circuit with an appearance on Late Night With David Letterman last night where she discussed the film, her co-star Joaquin Phoenix who she called "awesome" and the "S" word. There was also a new never-before-seen 30 second spot during a commercial break and a short 30 second Adams-centric clip from the film which you can watch below. We'll update this post when we get the new commercial. (thanks to The Film Stage and Xixax for the videos.)
"The Master" plays the Venice Film Festival in 2 days so there should be plenty more reviews making their way online this weekend. Avert your eyes, spoiler-phobes. Don't forget to check our constantly updating release dates page for where and when you can see the film in 70mm and otherwise. And lastly, we've heard from many of our Australian readers eager to get the film in 70mm over there so if you'd like to lend a hand, please head over and sign their petition and perhaps the right people will take notice.
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Monday, 27 August 2012
Watch The 2nd Theatrical Trailer For ‘The Master' Now
IMDB has just posted the second theatrical trailer for "The Master," which our readers may recognize as the same one we posted about a few weeks ago playing before "The Bourne Legacy" in selected theatres. If you look closely you'll get a little glimpse at Melora Walters in the teaser-length promo which also features a handful of scenes not seen in all previous clips. Thanks to many of our astute readers for the headsup!
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Thursday, 23 August 2012
Interview: La Repubblica
Note: This interview was translated from Italian to English with the help of reader Stefano Cattaneo.
I'll Tell You About The Cult Success In America
By Antonio Monda
There's a scene where a man blame the head of the cult of being a dangerous liar
"That's the scene that most people who saw the movie remembered" the director said in his office, where he follows the preparation of the print we'll see in Venice, "and most people seem to identify that skeptical character with myself, but that's not the case"
Who do you identify with?
"Whit no-one really, even though every character carries some personal element. I don't think there are movies, written and directed by the same person, that lack this characteristic"
Is it true that your father had similar experiences?
"My father was in the Navy during World War 2, and experienced the trauma of those who have fought the war. But the similarities stop there."
Why shooting in 70mm? Using those film gives more spectacular images, but the process of screening becomes tricky.
"During pre-production we tested a lot of lenses with DP Mihai Malaimare Jr. until one day operator Dan Sazaki suggested 70mm, and i fell in love with the results"
Were you aware of the problems raised by this solution?
"I think it was worth it: 70mm gives the story an epic dimension. But I didn't expected it to be this problematic. The movie was first invited both in New York and in Venice, but in NY only the smallest festival theatre was equipped for 70mm. We had chosen Venice anyway where i was guaranteed that I would have an adequate screening. They also had to carry the film by hand to protect it from the trip".
During production The Master was defined by the american press as a Scientology movie. But that isn't mentioned in the movie itself.
"Let me start by saying that in America Scientology is not considered a sect but a religion. And I would like to state that I have not encountered difficulties while shooting, even if the story is inspired by Dianetics, and for a matter of movie setting, indirectly inspired by the historical moment and conditions during which Scientology was born. I want to reiterate that this is a fabricated story: pure fiction."
What fascinates you about that world?
"The emotional and psychological mechanisms that are established between the characters. Also I always wanted to make a movie about Freddie Quell, a lost soul, coming home scattered after the war."
Those entering the sect are considered frightened or greedy.
"Two very common characteristics of human beings."
Lancaster Dodd describes himself as a writer, philosopher and doctor.
"He would add 'but above all I am a man'. And since he's talking to Freddie he would also say 'just like you'."
He's charismatic, but also a showman.
"No man without that charisma can found a religion or a sect. Him being a showman is caused by his American background. But it's not necessarily a bad thing".
Does he believe in his own preachings?
"I would say 'yes', absolutely. I believe he's in good faith."
We saw him with an empatic attitude, even when he hits his pupil.
"I don't make movie to judge, but to tell stories in the best possible ways"
In your movies, religion often appears.
"I'm not observant, but i care about the topic and I keep going back at it. Even when the core values of faith undergo degeneration."
Can we define The Master as a "father and sons" story?
"To me it's mainly a story of two lovers. Not in the erotic way, but because of the irresistible attraction that the two stars have between each other."
You could have set this movie whenever you wanted age-wise, don't you think?
"The Fifties are a great period for a movie, a moment of hope and pain. Looking back you could see the destruction [of the war] and this is a great source of drama. And also there was some beautiful music in those days."
Have you always thought about PSH and JP for the main characters?
"Yes, the movie would be impossible without them. I can't say that a casted Philip because we have an ongoing collaboration. I'm very happy Joaquin took the role. I already wanted him for Boogie Nights and There Will Be Blood"
How would you pitch this movie to a producer?
"I would say this is a chance to have two great roles".
And to the actors?
"A chance for a love story"
‘The Master' Exclusive San Francisco Screening Poster
"The Master" screened again on Tuesday night for those lucky enough to be in San Francisco and score tickets to the special event at the Castro Theatre. We've read various accounts of some lucky attendees via Twitter and it's great to see people so touched by getting to spend a few moments with Paul. Hopefully CJ will chime in sometime soon with his own thoughts on the event but in the meantime we've got a look at the limited edition print being sold at the event signed by the man himself. (Image via @Power_Lloyd) Not to be too cryptic but stay tuned, we should have something very special for you guys coming up in the near-ish future.
We were also sent along a very nice print of "There Will Be Blood" by artist Tony Johnson whose work will be part of a film poster exhibition taking place at Print Club London on the 31st August 2012. Tony says, "The exhibition curators have selected 40 artists to create a screen printed poster inspired by a movie of their choice. I am one of the selected artists and I've created a There Will be Blood inspired poster titled I Drink Your Milkshake These are available as a limited edition of 40 prints and are priced for a steal at £40 each. They can be ordered directly from Print Club London when the show opens." More details on the show can be found here.
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Monday, 20 August 2012
‘The Master' Screening In San Francisco Tomorrow Night; New Teaser Is Here
Just moments ago Al Rose Promotions unveiled another special teaser trailer featuring a coda advertising yet another benefit screening for "The Master," this one to be held tomorrow night at the Castro Theatre in San Francisco. You will recall that Paul held a special advance screening of "There Will Be Blood" at the very same theatre 5 years ago and many had pegged this as a possibility on his "The Master" unofficial secret screenings tour. Like the Chicago screening, this will also benefit the Film Foundation and tickets will be $10. Believe that my Cigs & Vines partner CJ will be in attendance at this event so if you see him, feel free to say hello.
Get your tickets here.
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Paul Gives His First Interview On ‘The Master'; Amy Adams Says She “Kinda Worships Him"
After 2+ years of silence, the dam has finally broken and PTA and co. have begun actually discussing "The Master" in some detail in various publications. Paul gave his first-ever interview on the film to Newsweek which we've archived here but be warned there are some spoilers. A few safe excerpts are below:
Once word of this leaked out, The Master immediately got tagged as Anderson’s “Scientology movie.” “I was naive,” the director says, somewhat ruefully. “I should have known that’s what people would latch onto.” But if you’re expecting to see an exposé of that controversial “religion,” you’ve come to the wrong movie. This is not to say Scientologists are going to like what they see. But Anderson, who gets a bit stressed when the subject comes up, finds himself “much more defensive and protective of [Scientology] than I would have thought.”NYMag has a good little profile on Amy Adams in the most recent issue which features a few quotes about working with Paul on "The Master" as well as a few spoilers you might want to hold off on until after you've seen the film.
He can look back with humor at the brash young filmmaker who fought with his producers over every frame of his first film, Hard 8. “No one could possibly tell me anything, because I’d painted them as the enemy,” he says. “By Punch Drunk Love I’d mellowed, I felt more confident in myself. I didn’t have to defend every B+ idea I had.”
Kind of like the mixologist Freddie, who makes booze from whatever is at hand, be it guavas or paint thinner, Anderson gathered pieces for his movie from disparate sources. There were scenes he’d written early on for There Will Be Blood he’d never used. There were stories Jason Robards had told him on the set of Magnolia about his drinking days in the Navy during the war. Chunks of Freddie’s experiences as a migrant field worker and wanderer were lifted from John Steinbeck’s life story. There was his fascination with the larger-than-life Hubbard. “But I didn’t want it to be a biography. It’s not the L. Ron Hubbard story,” Anderson says. He was inspired by a quote he read that the period after wars was a particularly fertile time for spiritual movements to start. “That was a hook you could hang your hat on.”When I mention that The Master, like so many of his movies, is about the creation of a makeshift family, and that there are similarities between the monomaniacal, alcoholic antiheroes of his last two movies, he seems slightly embarrassed. “I know, it’s the same thing again. No matter how hard I try to set out to do something different,” he says. “I wish I would have more diversity as a filmmaker.” It’s a complaint no one else has made.
“You’re the first person I’ve talked to about it,” says Adams, as if expecting a lightning bolt to strike. Anderson’s working methods were new to her. Even for scenes in which she was not scheduled to appear, she was instructed to show up, just to make her presence felt. “It was exhausting, but I love the effect,” she says. “She’s almost blurry.”
It all sounds a little, well, cultlike, with the secretive Anderson imposing his will upon a cast and crew systematically discombobulated by working methods designed to keep them subtly off-balance throughout. “I won’t go that far,” she says. “But I do kind of worship Paul. He’s magnificent.”Read the entire piece at NYMag.
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Interview: Newsweek
Secrets of ‘The Master’
Inside director P.T. Anderson’s ‘Scientology movie.
by David Ansen
Scene for scene, shot for shot, Paul Thomas Anderson may be the most exciting American writer-director of his generation. He’s a kind of cinematic chemist who works with unstable, dangerously flammable human particles. At any moment his characters—and his movies—are capable of exploding, and there’s no telling which way the shards will fly, or, as in Magnolia, the frogs will drop. Think of the seething ambition of Daniel Day-Lewis’s power-hungry oil magnate in There Will Be Blood; the powder keg of anger underneath the shy Adam Sandler in Punch Drunk Love; the cold, narcissistic fury behind the cocky surface of Tom Cruise’s sex-guru in Magnolia; the coke-fueled desperation of the porn-world denizens in his exhilarating Boogie Nights. There are rarely conventional heroes and villains in Anderson’s emotionally charged sagas, and that’s one of the reasons his movies feel so alive; he keeps us out of the comfort zone of predictable Hollywood formulas.He’s a man who’s spent his life running away, even from the girl he professes to be the love of his life. And then Freddie meets and falls under the sway of “the Master,” Lancaster Dodd (Philip Seymour Hoffman), the founder and leader of a spiritual movement called the Cause. Anderson freely acknowledges that this flamboyant character—a self-described author, sea captain, physicist, and philosopher—was inspired by L. Ron Hubbard. Once word of this leaked out, The Master immediately got tagged as Anderson’s “Scientology movie.” “I was naive,” the director says, somewhat ruefully. “I should have known that’s what people would latch onto.” But if you’re expecting to see an exposé of that controversial “religion,” you’ve come to the wrong movie. This is not to say Scientologists are going to like what they see. But Anderson, who gets a bit stressed when the subject comes up, finds himself “much more defensive and protective of [Scientology] than I would have thought.”
When the Master first meets Freddie aboard a private luxury ship in San Francisco Bay—one of his wealthy followers has donated the vessel to the Cause, and Freddie has snuck on board, hoping to find a job—Dodd’s eyes light up at the challenge. Dodd claims that mankind can overcome its animal nature and reach its innate perfection through his methods, which involve the exploration of one’s past lives, in order to expunge one’s ancient demons. And here before him stands a beast desperately in need of taming. But there’s more to it: Freddie’s wildness titillates him, and so does his homemade booze. He’s found someone to play savior to, but he’s also found a naughty playmate, a lower companion who allows him to take a breather from his public role as the all-knowing guru.
Freddie is taken into the inner circle of the big Dodd family. There’s Dodd’s quiet but powerful wife (Amy Adams), his grown son, and his pretty daughter, whose shipboard marriage takes place as they set off for New York. For Freddie, it’s the chance to have at once a father figure, a drinking companion, and a family he never had—if he can submit to the rigorous rituals of the Cause. A question looms over the story, the same one that hung over the anarchic anti-hero of A Clockwork Orange: can this tortured, violent animal be civilized?
The Master, the rare movie shot these days on 70mm, feels epic—it ranges from the beaches of Hawaii to the English countryside—but its focus remains fixed on the passionate and mysterious bond between these two men. It becomes clear by the end that the movie is a strange kind of love story. The mesmerizing scene in the Master’s cabin when Freddie first submits to Dodd’s interrogation techniques is both therapy and foreplay. Dodd is a master of seduction. He berates Freddie for being an animal, then rewards him with the candy of praise: “You are the bravest boy I’ve ever met.”
Phoenix, with his spooky laugh that’s both defensive and taunting, is phenomenal, and scary as hell. It may be the highest compliment that a lot of people are going to think Phoenix isn’t acting at all—that they’re watching a genuine nutcase. His explosions are a force of nature: Phoenix has a scene where he goes berserk in a Philadelphia jail cell that makes De Niro’s raging bull look genteel. This is the role he’ll be remembered for.
Hoffman, a brilliant shape-shifter who’s been in every Anderson movie but one, is working in an entirely different style, and it’s thrilling to watch them play off each other. If Freddie is all inarticulate instinct, Dodd, who speaks with a formal, literary flourish, is almost always in performance mode, the self-appointed master of ceremonies. Hoffman can turn on a dime between self-deprecating charm and attack mode: when he snaps it’s a different kind of scary. The Master may be a fraud and a fabricator, but he’s no villain. He genuinely wants to heal his flock, and his belief in his own benevolence gives him power. Adams, as Mrs. Dodd, may not have a lot of screen time, but she makes the most of every moment. She’s the true believer, the power behind the throne, ever vigilant of her husband’s reputation. Her public face of calm subservience masks a steel-willed woman always on emotional high alert.
The Master (in theaters Sept. 14) feels of a piece with There Will Be Blood, the first film in which Anderson traded in his hyperkinetic style for a simpler, more concentrated focus. At 42, he’s no longer the hotshot wunderkind, intent on dazzling us with every bravura Steadicam shot. In his personal life, he has put his past excesses behind him—he’s married, to actress Maya Rudolph, and the happy father of three young kids. He can look back with humor at the brash young filmmaker who fought with his producers over every frame of his first film, Hard 8. “No one could possibly tell me anything, because I’d painted them as the enemy,” he says. “By Punch Drunk Love I’d mellowed, I felt more confident in myself. I didn’t have to defend every B+ idea I had.”
But in another sense his movies have become fiercer, and more formally and emotionally challenging. The Master is a slap in the face of the screenwriting rulebook that insists on a clear three-act structure, tidy resolutions, and characters whose “arcs” make a neat trajectory from A to C. He likes, he says more than once, to keep things “liquidy,” and there are scenes, like one in the balcony of a movie theater, that blur the line between reality and dream. Like Jonny Greenwood’s gorgeously dissonant score, the movie keeps you off balance and on edge. The spell it casts is both passionate and cool, like a fever dream from which any trace of sentimentality has been expunged.
When he first started writing The Master, Anderson had no idea what it was, where it was going, or where it would end up. “I was first writing scenes that didn’t have a home. I do that a lot, and then finally they come together. I like to write every day and keep working and not wait around for something to happen,” he says. “Richard LaGravenese [the screenwriter] once said that writing should be like ironing a shirt: you keep going over the same spot, and you go a little deeper and a little deeper. I don’t want to sound all mumbo jumbo, but it gets to a certain point, if things are going well, where you’re not writing it; the character is going where he’s going.”
Kind of like the mixologist Freddie, who makes booze from whatever is at hand, be it guavas or paint thinner, Anderson gathered pieces for his movie from disparate sources. There were scenes he’d written early on for There Will Be Blood he’d never used. There were stories Jason Robards had told him on the set of Magnolia about his drinking days in the Navy during the war. Chunks of Freddie’s experiences as a migrant field worker and wanderer were lifted from John Steinbeck’s life story. There was his fascination with the larger-than-life Hubbard. “But I didn’t want it to be a biography. It’s not the L. Ron Hubbard story,” Anderson says. He was inspired by a quote he read that the period after wars was a particularly fertile time for spiritual movements to start. “That was a hook you could hang your hat on.”
He knew from the start he wanted Hoffman to play the Master, and his actor-friend was an integral part of the writing process. “He was my first audience. I’d hand him chunks and hear what he responded to.” For the longest time Anderson wasn’t even sure whose story it was. It was Hoffman who clarified it for him: “This is Freddie’s story.” He also had Phoenix in mind as he was writing, and he knew the actor would keep his writing from sounding too literary. “At a certain point, Joaquin is just incapable of faking it.” Anderson was amazed by Phoenix’s discipline on set. “He’s like Daniel [Day-Lewis], his level of concentration. He just got in character and stayed there—for three months he didn’t stop. Joaquin is very unpredictable. A lot of the time I didn’t know what he was going to do.” In one scene Freddie has to be restrained by a cluster of policemen. He laughs remembering the head of the stunt crew advising his men to take it easy on the star. “Six of these stunt guys couldn’t hold him down!”
When I mention that The Master, like so many of his movies, is about the creation of a makeshift family, and that there are similarities between the monomaniacal, alcoholic antiheroes of his last two movies, he seems slightly embarrassed. “I know, it’s the same thing again. No matter how hard I try to set out to do something different,” he says. “I wish I would have more diversity as a filmmaker.” It’s a complaint no one else has made.
Because his über-stylish movies are so immaculately shot and edited, and because there have only been six in the past 16 years, and because he’s a bit of a control freak, Anderson has often been called a perfectionist. Terrence Malick, whom he reveres, gets the same label. But in fact they’d both be better labeled imperfectionists, for they are instinctual artists, who often don’t know what they’re after until they see it in front of them. The last shot of The Master, for example, was something he discovered in the editing process. “It just felt right. I can’t tell you why. If I have a strong instinct, I go with it, and try to get the intellectual chatter out of my head,” he says. He’s absorbed the lessons of his idols, the formalist Scorsese and the improvisational Altman, and merged them into a passionate style all his own. It’s there in every haunting scene of The Master, the impeccable, classical craftsmanship in search of the live-wire moment of emotional truth.
Sunday, 19 August 2012
‘The Master' Screened Secretly In NYC Last Night...Twice
Update 8/27: Mike Maggiore, programmer and publicist for the Film Forum reached out recently to us to say that no screening took place at the Film Forum, so it appears our source may have been confused... The screening at MoMI definitely took place since it was confirmed through multiple sources including Paul's assistant.
Updated 8/20: It appears that these may have been friends & industry screenings not meant for the public to stumble onto like the LA screening a few weeks ago. Not that a few lucky attendees didn't do just that.
Yes, 3 days after my Chicago adventure, "The Master" arrived in my backyard for not one but two secret screenings last night. The film played
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Expect The Unexpected; ‘The Master' Screens In Chicago
As you're probably well aware by now, "The Master" had its second public screening at the Music Box Theatre in Chicago on Thursday night. The screening had come about due to an article posted over at Time Out Chicago which pointed out the venue as an ideal place to show the film in 70mm, which prompted our own campaign to find more 70mm screens that would be able to show the film. Like the LA screening, this one too was something of a surprise for audiences, but unlike the first screening, fans had a 24 hour heads up.
We here at Cigs & Vines may have gotten word of this surprise a day or so earlier but it didn't look like CJ or myself would be able to make it to Chicago on such short notice. However fate smiled on me that day and fortuitous circumstances led me to book a last minute flight from NYC to the Windy City for a whirlwind 12 hour trip. Some of you may have followed along on Twitter with my manic "Planes, Trains & Automobiles"-style adventure just getting to the venue on time and if so, thank you for your help and encouragement. (Ironically the film would end up playing in my own city about 3 days later but I still wouldn't trade the experience for anything.)
Though he didn't introduce the film or come out for a Q&A or anything afterwards, Paul was indeed there for the screening, which began a few minutes after its scheduled 10pm start time. We were told via an introduction by Music Box general manager Dave Jennings that the film did not have end credits (which we suppose still qualifies this as "incomplete" so it can technically 'Premiere' at Venice and TIFF) but rest assured, what we were shown was the final cut. Because I don't want to spoil the film for you guys until you've had a chance to see it, this will not be a review but rather some brief impressions.
Watching "The Master" was like seeing a dream come to life. Images, character names and various snippets of info that had trickled so slowly out of production over these last 2 1/2 years at last coming to life. The mansion. The detective. The frame. The 70mm. The puzzle finally assembled. And despite following the film as closely as we have -- personally, I'd done everything but read the script -- the puzzle still looked nothing like I'd imagined. Many have asked which of Paul's films does this most closely resemble and the answer is: none of them. In fact, it's really not like any film I've ever seen. While there are recurring themes and certain hallmarks found in PTA's previous work, the overall piece is something completely new.
Of course, I loved the film. "The Master" is a strange, hypnotic and bold new chapter in the career of Paul Thomas Anderson. It's his loosest and least narrative work to date featuring a series of big scenes in succession, some of which are the very best Mr. Anderson has ever put to film. Joaquin Phoenix plays Freddie like an untamed animal. I've never seen anything quite like it. Hoffman is charismatic and unpredictable as The Master and their scenes together are utterly magnetic. The 70mm cinematography by Mihai Malaimare Jr. is sharp, vivid and breathtakingly beautiful. Jonny Greenwood's score is unsettling and elegiac. The scenes I recognized unfolded in a way I couldn't predict while several of the trailers' iconic moments were absent altogether.
I may not quite know what I've seen yet but I know that it will take me some time to properly digest it. So while certain parties may be quick to instantly categorize the film, the conversation around "The Master" will last much longer than any awards season chatter. What makes Paul the most exciting director of his generation is that he's constantly evolving as a storyteller and absolutely refuses to repeat himself. As I said after the screening, "no matter what you expect, it's not what you're expecting." I can't wait for you guys to see it.
If you're looking for more, Criticwire has a pretty good rundown of the Twitter reactions to the film and if you want a tantalizing but non-spoilerful way to get a taste of the film, that might be the way to go. This one is probably my personal favorite. As far as lengthier examinations, there are full reviews up at The Playlist, The Film Stage, Time Out Chicago, Movieline and several other blogs but beware of spoilers. Not that this is the sort of film that can be easily ruined by giving away some major twist (there aren't any that come to mind), each gives away just a little bit more than you might have known otherwise and are probably best left until after you've seen it.
Thanks again to Paul, his assistant, CJ, Music Box Theatre, Annapurna Pictures and The Weinstein Company for making Thursday night a dream come true.
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Wednesday, 15 August 2012
‘The Master' Screening In Chicago Tomorrow Night; New Trailer Is Here
A little surprise tonight popped up on Al Rose Promotions YouTube channel earlier tonight. Take a look below.
Yes, the film will have a surprise screening tomorrow night at the Music Box Theatre in Chicago in 70mm. Enjoy. More fun to come.
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Yes, the film will have a surprise screening tomorrow night at the Music Box Theatre in Chicago in 70mm. Enjoy. More fun to come.
#THEMASTER70MM
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Details Arrive For The New ‘The Master' Trailer Already In Theatres
Over the weekend we learned that a new trailer for "The Master" had already quietly made its way into theatres. We asked our readers to get back to us with any details for the new trailer and reader Nate Eggert responded with a detailed synopsis.
Greetings Hopeless Inquisitors,According to @ComTrackStars, the new trailer is an unusually brisk 1:09 and "most theaters will probably have it this week." We'd imagine it'll make its way online before too long. Stay tuned.
I can assume you have caught the new trailer by now, but in case not and you're still looking for more details, I saw it today, also in front of Bourne Legacy at the Landmark. (An odd placement of it no? Perhaps some friendly teasing to Mr. Elswit and Mr. Renner?)
Some things besides the window banging (a terrific pull-back, I believe it was raining, camera outside, Freddie trapped inside), Car make-out (didn't catch who the girl was), New arrest shot (Dodd screams back something like, "Don't hurt him!"), and AA Rifle shooting, which seamed to be target practice in the same desert/time as Freddie following Dodd in that worth the 10 dollars of admission shirt and hat (also in the trailer)....
- The push-in of Freddie in his Sailor blues, pinning up the note that he's leaving, I believe described as being in the footage shown at Cannes.
- A small bit of Dodd actually speaking to the crowd (which holy shit looks like could be PSH best performance in the film). It seemed to me that he was even adding on an even EXTRA accent and grandioseness than in his other plain talking scenes, maybe like a "performance voice". Whatever it was, it felt good.
- A tastily awkward close-up of Dodd's daughter licking her lips.
- This one I'm not sure about, but at one point I think Dodd may call Freddie out to that tented stage; I think... Dodd motions his hand, cut to Freddie starting to walk, cut to push-in shot on the other side (left side) of the stage that the other trailers showed Dodd entering from on the right, with that great tracking shot on Dodd's back. (Again, could be totally making this up in my head, or the trailer was just cut this way and Dodd actually calls out his family or something. Guessing and overanalyzing is fun, but how wonderful that we don't know the whole story just by watching the trailer.)
- A bunch of cut-shorter repeats
Overall I found this piece to be a little more of a "just shots", instead of a self contained micro-short film as the first three felt to me, but it was obviously just as exciting and my biggest complaint is that it was too short, and that Borne Legacy played after it.
Thank you for all your hard work, translating into me wasting an hour from each day.
One solitary month left...
In other news, "City Of God" director Fernando Meirelles (whose new film "360" is out now) had these kind words to say for PTA recently in an interview with The Scotsman. (via @darthmonk3y)
And finally, who are some of your favourite directors?#THEMASTER70MM
I love Paul Thomas Anderson, everything he does. And I watched Gaspar Noe’s Enter The Void recently and was shocked, blown away. Everyone should see it immediately. Do it over two consecutive nights because it’s three hours long and you will get tired. This film deserves attention.
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Tuesday, 14 August 2012
Details Arrive For Jonny Greenwood's ‘The Master' Soundtrack
As we told you on Sunday, "The Master" soundtrack will be released on September 11th via Nonesuch Records. Today Pitchfork has the details for this release including the tracklisting and a link to pre-order. See below:
| 1 | Overtones | 2:20 |
| 2 | Time Hole | 1:42 |
| 3 | Back Beyond | 3:42 |
| 4 | Get Thee Behind Me Satan – Performed by Ella Fitzgerald | 3:47 |
| 5 | Alethia | 4:06 |
| 6 | Don't Sit Under the Apple Tree (With Anyone Else but Me) – Performed by Madisen Beaty | 1:36 |
| 7 | Atomic Healer | 1:24 |
| 8 | Able-Bodied Seamen | 3:54 |
| 9 | The Split Saber | 3:41 |
| 10 | Baton Sparks | 2:20 |
| 11 | No Other Love – Performed by Jo Stafford | 3:00 |
| 12 | His Master's Voice | 3:34 |
| 13 | Application 45 Version 1 | 5:40 |
| 14 | Changing Partners – Performed by Helen Forrest | 2:42 |
| 15 | Sweetness of Freddie | 3:25 |
The site claims, "Pre-orders of The Master soundtrack are available now in the Nonesuch Store and include an instant download of Greenwood’s "Application 45 Version 1" from the album." So download away.
You can also preview track 10 "Baton Sparks" which is featured on the previously released Jonny Greenwood/Krzysztof Penderecki collaboration album "Threnody for the Victims of Hiroshima / Popcorn Superhet Receiver / Polymorphia / 48 Responses to Polymorphia" below. (via @Tyler23Durden)
Update 7:15pm: You can also preview the track "Application 45 Version 1" over at Tumblr. (via the comments below.)
#THEMASTER70MM
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Monday, 13 August 2012
‘The Master' Confirmed For 70mm Screening At TIFF
Earlier today Cameron Bailey (Artistic Director at TIFF) tweeted that the Toronto International Film Festival would be adding a few more films to the already stacked lineup. So we sent a reply asking if perhaps #THEMASTER70MM would be one of the aforementioned Gala's (as rumored) and he decided to let the cat out of the bag a little bit early for us.
@cigsandredvines You got it: THE MASTER in 70mm at #TIFF12TIFF then confirmed this from their official account. More details will be forthcoming about the time/place of the screening but as you can imagine this is very, very exciting news for a few reasons, not least of which being that 1/2 of the Cigs & Vines team will be attending TIFF (me). Assuming PTA doesn't pull any more surprises in the next few weeks, this looks like it will also be the film's official North American Premiere shortly after its debut in Venice. So far all festival screenings have been confirmed for 70mm presentations. Are any Cigs & Vines readers going to TIFF this year? Will I see you there?
Update 8/14: The film has been added to the TIFF site with the following description, "So too does Anderson’s decision to use the cinephile’s ultimate visual palette — 70mm film. Flying in the face of the rapid shift to digital cinema, The Master was filmed in that high-resolution widescreen format, and will be presented in 70mm at the Festival. The effect is cumulative, and ultimately shattering." Can't wait.
#THEMASTER70MM
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Sunday, 12 August 2012
‘The Master' Soundtrack Coming September 11th; New Trailer Already In Theatres?
With just over a month to go, the marketing for "The Master" appears to be in full swing. We've now received two separate reports that there is a brand new trailer for "The Master" currently playing in theatres. The first report comes via @BrianDuffield who wrote us the following about the clip.
Hey, there was definitely a new trailer in front of BOURNE LEGACY. Joaquin banging a window while Hoffman spoke. Amazing. [It's] absolutely not [the previously released trailer]. It had Joaquin banging a window rhythmically through out. Adams shoots a rifle at one point. It had Hoffman being led away by police (different shot than others), yelling back at the house. Joaquin kissing in a car.The trailer was playing at the AMC in Century City before the 7:30pm showing of "The Bourne Legacy" on Friday night so we put out the call on Twitter to readers to see if anyone else had seen it and received a confirmation from another reader @Hendyhandel who confirmed "The new trailer's playing before "Bourne Legacy" at The Landmark in West LA. Window banging. AA fires a gun. It's legit." We assume this will makes its way online at some point but until then, if any other readers get a look at the trailer, please drop us a line with any further description.
In other news, you will be very happy to know that Mr. FortyFPS and I have been doing a major overhaul behind-the-scenes and should have some very exciting archival stuff rolling out on the new site very soon. Stay tuned.
We're still waiting to see which theatres will join the Alamo Ritz in presenting the film in 70mm. It appears that AMC Theatres will not be joining them at any of their locations nationwide neither will the film's UK distributor.
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Saturday, 11 August 2012
Philip Seymour Hoffman & JoAnne Sellar Downplay ‘The Master's Scientology Connections In EW; Plus 15 New Images
"It's not the L. Ron Hubbard story. [Scientology] was one of the bigger movements at the time, but there were a lot of movements at that time," says Hoffman. "There's nothing about how I'm behaving or talking that echoes [Hubbard]. I thought of a lot of other bigger-than-life personalities, charismatic people like Orson Welles."
"People are going to have to draw their own conclusions to that aspect of the movie," says producer JoAnne Sellar. "[Anderson] is interested in how veterans came back from World War II. They were these lost souls who were uncertain about their future."
"Joaquin's character is like a beaten dog," says Hoffman. "No matter where he goes, [Quell] gets into severe trouble. And somehow I'm able to deal with him."
34 days to go.
#THEMASTER70MM
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Friday, 10 August 2012
‘The Master' Will Screen In Austin In 70mm; PTA Says ‘Keeping 70mm Alive Is Important'
While "The Master" won't be screening at Fantastic Fest, Austin will be one of the cities getting a prestigious 70mm release at the Alamo Ritz theatre starting September 21. Again, we may have seen this coming but it makes the news no less exciting. (via Indiewire)
PRESENTED IN AMAZING ALAMOSCOPE:Incidentally, this looks like the first publicly spoken words from Paul about the format or the film itself since beginning the project. As we already knew, Paul is very keen on showing the film in 70mm going so far as to thank Drafthouse founder Tim League for helping him present the film "in its intended way." So far Austin is the only confirmed city to receive a 70mm engagement but we hope there will be many more to come.70MM AT THE RITZ!Brand New Programming Series Goes Big,Including Paul Thomas Anderson's "The Master"Austin, TX--- Wednesday, August 1st, 2012--- Alamo Drafthouse is pleased to announce a new ongoing film series beginning August 24, titled "Presented in Amazing AlamoScope: 70mm at the Ritz!" In the world of film presentation, nothing -- digital or otherwise -- can ever match the power and glory of 70mm film. A gargantuan creation of the 1950s, 70mm quickly became the permanent benchmark of quality, transforming every title released in the format into a mind-expanding epic. The depth, the sharpness, the beauty and the history make every 70mm screening an unforgettable event for any movie fan. While movie studios and theaters dump celluloid to replace with computer files and giant TVs, the Alamo is proud to instead leap into the tremendous, triumphant arena of 70mm.The incredible lineup at the Alamo Drafthouse Ritz in Austin, TX includes WEST SIDE STORY, CLEOPATRA, GHOSTBUSTERS, INDIANA JONES, BARAKA, PLAYTIME and Paul Thomas Anderson's highly anticipated new film THE MASTER, all shown the way they were meant to be seen, in glorious 70mm."I am thrilled that Tim has helped us present the film in its intended way. This is a special format, and keeping it alive is important," said director Paul Thomas Anderson."Paul Thomas Anderson has bucked the trend of digital conversion and shot his new American epic THE MASTER in glorious 70mm. As an homage to his bold ambition, we have made a long-term commitment to celebrate 70mm, both as a lead-up to the release of his new film and as an integral part of our programming for years to come," says Tim League, founder and CEO of Alamo Drafthouse.Tickets to WEST SIDE STORY are on sale now. A badge providing access to all 7 films including THE MASTER is also on sale. The badge includes access to the first show on Saturday at noon or slightly before for all repertory films and the premiere screening of THE MASTER on 9/21 at 7:00pm (approx.).Go here for tickets, schedule and more information on
So we'll take this opportunity to remind you again to please read our 70mm Guide to find out exactly what makes the format so special and then head over to Help PTA Show 'The Master' In 70mm In Your City. How many more cities will be showing the film in 70mm? That's not clear yet. We're still looking for available venues and it probably wouldn't hurt to let The Weinstein Company know how important it is for you to be able to view the film in its intended format.
#THEMASTER70MM
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‘The Master' U.S. & International Release Dates
Special Screenings
8/3 Los Angeles, Aero Theatre (70mm)
8/16 Chicago, The Music Box Theatre (70mm)
8/19 New York, Museum of the Moving Image (70mm)
8/21 San Francisco, Castro Theatre (70mm)
9/1 Venice Film Festival, Sala Grande Theatre, Palabiennale Theatre (70mm)
9/7-9/16 TIFF, Princess of Wales Theatre, TIFF Bell Lightbox 1 (70mm)
9/10 Austin, Alamo Drafthouse (70mm)
9/11 New York, The Ziegfeld (70mm)
10/7 Karlsruhe Germany, Schauburg Cinema (70mm) [source]
10/25 Melbourne Australia, Astor Theatre (70mm) [source]
70mm Engagements
9/14 New York, AMC Lincoln Square (70mm), Village East Cinema (70mm) [source]
9/14 Los Angeles, Arclight Cinemas (70mm) [source], The Landmark (70mm) [source]
9/21 Austin, Alamo Ritz (70mm) [source]
9/21 Boston, Coolidge Corner Theatre (70mm) [source]
9/21 Seattle, Cinerama (70mm) [source],
9/21 Oakland, Grand Lake Theater (70mm) [source]
9/21 Silver Spring MD, AFI Theatre (70mm) [source]
9/21 New York, Ziegfeld Theatre (70mm) [source]
9/21 Toronto, Varsity Cinemas (70mm) [source]
11/2 London, Odeon West End (70mm) [source]
1/9 Paris, Cinema L'Arlequin (70mm) [source]
Update 9/18: PTA says, "We'll have 16 [70mm] prints total and it'll play in different theaters around the country and theaters worldwide - and that has just been kind of a miracle that we have been able to do that."
Update 8/16: Chicago Tribune reports that the film will have a 70mm rollout in NYC, LA, San Francisco, Seattle, Boston, Washington DC & Austin with additional cities (Minneapolis, Denver & Ann Arbor) are "possibilities" as well.
U.S. Standard (35mm/DCP) Engagements
9/14 New York, The Anglika [source]
9/21 Boston, Kendall Square Cinema [source]
9/21 Seattle, Guild 45th Theatre [source]
9/21 Chicago [source]
9/21 San Francisco, Embarcadero Center Cinema, Sundance Kabuki Cinema [source]
9/21 Baltimore, The Charles Theatre [source]
9/21 Washington DC, Landmark E Street Cinema, Bethesda Row [source]
9/21 Philadelphia, The Ritz Five [source]
9/21 Cleveland, Cedar Lee Theatre [source]
9/21 Omaha, Film Streams [source]
9/21 Winston-Salem, Aperture Cinema [source]
9/21 Dayton, Neon Theatre [source]
9/21 Charleston, Terrace Theater [source]
9/21 Columbia MO, Ragtag Cinema [source]
9/21 Salt Lake City, Broadway Centre Cinema [source]
9/21 Brooklyn, Nitehawk Cinema [source]
9/21 Pittsburgh, The Manor [source]
9/21 Norfolk VA, Naro Cinema [source]
9/21 Ithaca NY, Cinemapolis [source]
9/21 Denver, Landmark [source]
9/21 Kansas City, Alamo Drafthouse [source], Rio [source]
Update 9/12: The film is now scheduled to be released "Wide" so should be in most major U.S. markets on 9/21 meaning we will probably not be continuing to update the list of standard engagements. We will however continue to track any screens playing the film in 70mm (above).
International
9/14 NY/LA
9/21 USA/Canada
10/11 Chile
10/12 Iceland
10/25 Greece
11/2 U.K.
11/2 Ireland
11/8 Australia
11/22 Thailand
11/23 Mexico
11/29 Portugal
12/6 Netherlands
12/7 South Africa
12/7 Sweden
1/3 Denmark
1/9 Belgium
1/9 France
1/10 Switzerland [source]
1/11 Italy
1/11 Norway
1/17 Singapore
1/17 New Zealand [source]
2/7 Argentina
3/22 Japan
3/8 Finland
All International dates via Annapurna Pictures unless otherwise noted.
We'll keep this page updated with new information as we receive it so if you hear of any release date news, please pass it along.
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Tuesday, 7 August 2012
‘The Master' Confirmed For Venice; Running Time Listed As 137 Minutes
After a rollercoaster of back-and-forth, today the Venice Film Festival confirmed "The Master" is indeed set to play in competition in 70mm, of course. (via @ThePlaylist)
La Biennale di Venezia/ 69th Venice International Film Festival
4 new titles join the roster of the 69th Venice Film Festival · The Master by Paul Thomas Anderson 18th film in Competition (in 70 mm)
Four new titles have been added to enrich the programme of the 69th Venice International Film Festival (29 August – 8 September) directed by Alberto Barbera and organized by the Biennale di Venezia chaired by Paolo Baratta. The Master, the highly anticipated new film by American director Paul Thomas Anderson (Magnolia, There will be blood) will be the 18th film in Competition at Venice 69th.
The Master will be screened in 70 mm in the Sala Grande (Palazzo del Cinema) on September 1st at 7.00 p.m., in the presence of the director and of the official delegation. The film stars Philip Seymour Hoffman, Joaquin Phoenix, Amy Adams, Jesse Plemons, David Warshofsky and Rami Malek. Paul Thomas Anderson is the 12th director (out of 18films) participating this year for the first time in the Competition of the Venice Film Festival, along with Olivier Assayas, Ramin Baharani, Peter Brosens and Jessica Woodworth, Rama Burshtein, Daniele Ciprì, Xavier Giannoli, Harmony Korine, Terrence Malick, Valeria Sarmiento, Kirill Serebrennikov.Update 8/9: The Venice Film Festival site, which had originally listed the running time as 150 minutes, now appears to have been revised with the correct running time of 137 minutes. 2 hours 17 minutes makes more sense with earlier reports. For reference TWBB: 158 min, PDL: 95 min, MAG: 189 min, BOOGIE: 156 min, H8: 102 min. (via @StoxPictures)
The LA Times also wrote up a short piece about that screening featuring quotes from several lucky audience members who were there.
Still waiting on TIFF to confirm the film has officially joined the lineup but that should be coming shortly.
And we're still looking for 70mm capable theatres as possible venues for showing the film that Paul & The Weinstein Company may not be aware of. We're aware of the lists that are out there but they are for the most part, out of date, but if you think you can help please head on over to that page for more details.
#THEMASTER70MM
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Monday, 6 August 2012
New Kaleidoscopic Poster For ‘The Master' Debuts
What do you think? (via Yahoo)
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Saturday, 4 August 2012
‘The Master’ Premieres At A Secret Screening In LA; Reactions Rolling In
So, it looks like we're not going to be able to sleep for the next month if we're going to get through this because shortly after signing off last night we got word that Paul had brought along a little surprise last night for the moviegoers at the Aero Theatre in Santa Monica. In Contention was first to report that before a 7:30pm screening of "The Shining," theatre staff announced there would be a "secret screening" afterwards and anyone who wanted to stay was welcome. Afterwards guests were treated to the first public screening anywhere in the world of "The Master," projected, yes, in 70mm. Paul and Maya were in attendance for the film which reportedly plays roughly 2 hours and 10 minutes long.
The Playlist rounded up some initial reactions most of which were very, very positive:
@michaelwhittle "Possibly the best film watching experience I've ever had. PTA's best. Not a doubt in my mind. #THEMASTER70MM"
@TotallySketch (Michael Gallagher) "Just saw 'The Master'. A movie has never made me feel quite like this one did. I can't describe it or even rate it. I am speechless."
@aaldere1 (Andrew P Alderete, "The Social Network" producer Dana Brunetti's assistant) "The Master was amazing. Oscars all over this one."
@LoganDoe "@prfessorbigsock Hoffman is one of the finest actors alive. The Master is (more) proof. #themaster"
@pillowfightin "@cigsandredvines Saw The Master in 70mm at the Aero Santa Monica. Surprise screening after The Shining. Its like nothing yvever seen before."
@jessecrall "The Master: B+ hazy, meandering story with beautiful staging and headed by Phoenix's brilliant, year's-best performance. @kristapley"
@Super_Matts "THE MASTER is...interesting...I'll be thinking about it for days #THEMASTER70MM J Phoenix and P S Hoffman are out of this world"
@DubstepElitist "duuuuuude, the master was goooooooooood"
And the most extensive reaction so far comes from 16-year-old cinephile Victor Escobar: his tweets after the film can be found below.
"Don't want to say more than a few words about it but it is an all around excellent film. I've yet to see one bad PSH performance but this one may be his best. 2hrs 10 min. Will get nods for Picture. Good chance of winning original screenplay and acting awards. If it were me, I'd put them both in the Best Actor category but if one them is getting the supporting nod, its Hoffman. It will have its fair share of detractors and its not a "safe" choice. If you guys can, see The Master in 70 mm. Looked gorgeous and its the way P.T Anderson wants you to see it. "Hollywood Elsewhere, who noted that we "dropped the ball" on this one (thanks Jeff!) received a more lengthy reaction from a reader called "Bobfilm."
"I'm still digesting everything I saw, but it was pretty amazing. It was like a strange fever dream. [But] not audience friendly AT ALL. There are three or four scenes between Phoenix and Hoffman that are barn burners. It also containts the best work Amy Adams has ever done. The style feels like Terrence Malick by way of There Will Be Blood. Wish you could have been there!"Read the rest (minor-spoilers, depending on your threshold for that kind of thing) over at his site.
Update 1:55pm: Reader @Brett_Myers sent along the following:
The performances are perfect, the pace incredible, the music generally fitting, the film is an abstract dreamy essay. It is sort of there more to question than answer. It's a kinda exercise in just picking the audiences brain. Sadly a lot of the audience were complete morons, laughin at completely non funny things. The film has a great humor to it though, a brotherly joviality. It lacks the 'punch' I was expecting, but I'm more realizing this film may be perfect. I didn't really care for "Boogie Nights" first view, but now it's my favorite movie.
Oscars, I don't know really, we still have a lot of great movies coming out that will definitely be more audience friendly. This won't be seen in red America but they need this more than I do.
Yes I bowed to PTA as he entered and then shook his hand and thanked him and followed him to the projection room where he screened the first of many to come of the master. It seems it'll be one that requires lots of emUpdate 3:38pm: @aaldere1 sent this:
Much like "There Will Be Blood," "The Master" is a distilled and intense character study that focuses on the founder of a new religious organization and his relationship with Freddie Quell - Joaquin Phoenix's character. Without giving too much away, I left with an intense sense of pause and reflection - just as one does after watching an observational documentary filled with gorgeous photography accompanied by distinct score. You are taken on a journey, and with that journey comes the essence of human emotion and a distinct look at what freedom means in post-WW II America. Johnny Greenwood's score is fantastic, and much like "There Will Be Blood," enhances the emotional connectivity between each scene and the characters you adhere to. It is clear that Greenwood is similar to John Zorn's relationship with film - especially films like "Workingman's Death" where the music is almost a character in itself. Seeing it after a Kubrick film was fitting, in that they were definitely of the same caliber. Watching it on 70mm was the ultimate treat as it paid tribute to the incredible cinematography and fantastic performances by Joaquin Phoenix and Philip S. Hoffman. I truly believe that their performances will not be matched come Oscar time.Update 6:42pm: @pillowfightin sent us the following with slight spoilers removed:
"We're all children of Kubrick, aren't we? Is there anything you can do that he hasn't done? It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" in "A Clockwork Orange" - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind." –Paul Thomas AndersonAnne Thompson has posted the first full-length review of the film from someone who was at the screening last night but there are a few more spoilers lurking over there. Proceed at your own risk. The headline reads, "'The Master' Is Visually Dazzling in 70mm, Enigmatic, Certain to Polarize" and we wouldn't have it any other way.
"Coke and popcorn under a 70mm print. It escapes the idleness of most movies with a strong tenderness, exceeding the dull word "melodic". The Master is as refreshing as being obliterated by an avalanche." –my review on mubi.com under the name Salaway Gennaro
Packed theatre for The Shining. I over hear a guy say to his date behind me, "Everyone who is here right now, for this movie, is cool in my book". The connoisseurship that the Aero would lure for The Shining is exactly what Paul Thomas Anderson wanted. The master of ceremonies introduced The Shining in it's new digital restoration and uncompressed sound. "But nothing beats the real thing. Tonight after The Shining, we are showing you a surprise screening of a 70mm film"(I knew what it was right then). After The Shining he announced that we would be the first audience to see Paul Thomas Anderson's newest film. Later I heard a girl say to him he was like Santa Clause. In the line for the men's room which trailed up a stair case that also lead to the projection room, I heard a kid say on his way down, "Paul Thomas Anderson is up there!!" But I never saw him and there was no Q&A afterwards.
But to get to the point, The Master was fucking great. But you could feel in the theatre that many people (old farts) had a certain distance from the film. Scorsese once observed that every time a new Kubrick film came out, people didn't react well to it but then 10 years go by and people realize that nothing like it had ever been done before and it's aggressively admired. Joaquin Phoenix's performance is a home run and I don't give a fuck about the Oscars. But his character, as Lancaster Dodd defines him, is a "scoundrel!". "I think it is essential if a man is good to know where he is bad and to show it, or if he is strong, to decide what the moments are in the story where he is weak and show it. And I think that you must never try to explain how he got that way he is or why he did what he did"–Kubrick. Anderson's story doesn't empathize over Freddie, Hoffman's imploding acting does however reach for him gallantly – [slight spoiler dialogue removed] Freddie is haunted and seems to belong nowhere. The Master will unforgivably be compared to Kubrick movies but the magic sincerity in the acting is more like a Pialat film, bursting across the screen.
Jonny Greenwood again gives Paul Thomas Anderson a feast of music yet Anderson reuses "Popcorn Superhet Receiver Part 3". It's wonderful that The Master was screened after The Shinning which is driven by Ligeti and Penderecki.
The Master was the brightest movie I've ever seen. Anderson has said that film is a hypnotic experience of light flickering through 24 frames a second. I hope you get to see it in 70mm.
@Super_Matts also wrote us with his some more thoughts on the film:
I still find it hard to put my thoughts of Paul Thomas Anderson's THE MASTER into words. I left the theater not really knowing how I felt about it. I feel that same way now. Not a negative thought in my mind, just lots of thinking. It's the same exact way I felt after leaving THERE WILL BE BLOOD, which I consider to be the most important film of the last decade. I thought about that film many days after I left it, admiring the picture more and more with each passing moment. I'll bet anything it will be the same way with THE MASTER. The film is a journey, perhaps the most personal journey I think PTA has ever taken me on. It's a fascinating film that is very well crafted with beautiful cinematography and extraordinary acting. I knew from the opening shot, so simple yet so grand, that this film was going to be something else.Like all of you right now, we really wish we could have been there. If any readers were in attendance and want to send us some completely spoiler-free impressions, you know where to find us. In the meantime, we're still trying to rally the troops for our #THEMASTER70MM campaign, so do lend a hand, won't you?
I will not go too deep into Phoenix and Hoffman's talent as I'm sure everyone will be talking about their performances in depth, but in short, they were both electrifying, giants on the screen, that had this unbreakable source of chemistry between one another. Honestly, every time the two actors shared the screen with one another, I couldn't help but be reminded of Brando and Malden's work together, in which you are unable to tear your eyes away from the screen and are bound to experience the emotions and events they are going through.
It's a fascinating film. It's a journey that I think each and every viewer will take away something different from. If there is one thing I know for sure, it's that Paul Thomas Anderson does not disappoint on his latest venture and that he definitely made it worth the wait. I can't wait to see it again.
Stay tuned to Twitter and Facebook if you don't mind being the last ones to know about these kinds of things.