criterionforum.org

Posted: **Fri Aug 19, 2016 1:39 am**

If he wished for 4K transfers of Boogie Nights and Magnolia based on his satisfaction with this, I could see WB dragging their feet on releasing it themselves. That's just merely conjecture but how I could see it playing out.

Posted: **Fri Aug 19, 2016 7:06 pm**

mfunk9786 wrote:There'd really be no reason for the others, though

If they can get him to do commentary for Magnolia and include the full deleted scenes there's a damn good reason for that one.

Posted: **Sat Aug 20, 2016 1:32 am**

Even more holy grail would be if there's an extended cut of That Moment around there somewhere. For something that takes a *cough* fly-on-the-wall approach to making a movie, it feels more intimate than most video pieces of that sort that I've ever seen surely.

Posted: **Tue Aug 23, 2016 5:29 pm**

Rance did have like a 4 hour version of it in first cut.

Posted: **Wed Aug 24, 2016 7:25 pm**

I wished there was an essay written for this movie, as that and the cover are the weak spots in this edition. as this was such an transcendental film from PTA that shows his strength as a filmmaker who was capable of doing more smaller singular character-driven work. It's still on my list to buy during the B&N sale.

Posted: **Wed Aug 24, 2016 8:54 pm**

FWIW, here's Dave Kehr's original review. I think it may even be his favorite Paul Thomas Anderson film.

Posted: **Sat Sep 10, 2016 1:52 am**

"PLUS: An essay by filmmaker, author, and artist Miranda July" has been added

Posted: **Sat Sep 10, 2016 2:04 am**

Ribs wrote:"PLUS: An essay by filmmaker, author, and artist Miranda July" has been added

Told you so.

Again, the question is asked: What was the last Criterion mainline title without any kind of printed insert/book/etc?

Posted: **Sat Sep 10, 2016 2:38 am**

Minkin wrote:
Ribs wrote:"PLUS: An essay by filmmaker, author, and artist Miranda July" has been added
Told you so.

Again, the question is asked: What was the last Criterion mainline title without any kind of printed insert/book/etc?

None that I can think of, but I remember there being a stir over the essay in The Manchurian Candidate disappearing from the notes on the website. The release still has an essay, and I can't even think of a Laserdisc that didn't have something.

Posted: **Mon Oct 17, 2016 7:59 pm**

Beaver

Posted: **Mon Oct 17, 2016 10:22 pm**

Isn't it a little weird that there's no PTA-based material on the Supplements? I'd have thought just a basic interview/discussion of the film would seem a certainty (especially given how he's been between projects until very recently)

Posted: **Tue Oct 18, 2016 5:07 am**

Anderson's former teacher wrote:"When he did Magnolia," Stevens says, "I sent word through someone who worked with him to tell Paul it would be great if he could come back for a visit. I'd love to see him. And the answer came: 'Paul doesn't go back.'"

She pauses for a moment. "Isn't that strange?"

Posted: **Tue Oct 18, 2016 12:16 pm**

Ribs wrote:Isn't it a little weird that there's no PTA-based material on the Supplements? I'd have thought just a basic interview/discussion of the film would seem a certainty (especially given how he's been between projects until very recently)

Since after Magnolia, PTA has not inserted himself into the home video releases of his films. I believe the reason for it was he beholden to something he said in a commentary track and therefore has not recorded any commentary tracks (nor inserted any interviews or discussion pieces).

Honestly, this doesn't bother me because I think the track he did for Boogie Nights reveals more about his thought process than anything (even if he's a different filmmaker than he was nearly twenty years ago). I know he and Adam Sandler were on the Charlie Rose Show at the time of PDL and it's out there amongst the Interwebz. And finally, while I definitely appreciate whatever insight someone can say on a film, I also like to have the space to allow for my own thoughts. I've thought about PDL for years now and I'm still finding new angles and new insights into it.

Posted: **Tue Oct 18, 2016 12:22 pm**

It's interesting that the "Punch-Drunk Beaver" review (sorry, couldn't resist =] ) uses Barry's jacket as the reference point. I recall in the 2 disc (also advertised as the Superbit edition) DVD, there were notes about the TV calibration and how you should see Barry's jacket as a stand-out and deep blue (perhaps Klein blue?).

Posted: **Tue Oct 18, 2016 12:48 pm**

He has talked about his prior work on Marc Maron's show, and I'd imagine he's covered stuff in Q&A's over the years. I think it was in one of those Q&A's where he said he might like to do another commentary track for something like Magnolia but only from a technical perspective. The Cannes press conference is about 40 minutes according to the beaver review, so at least we do see him on it.

Posted: **Tue Oct 18, 2016 3:11 pm**

Just saw those Beaver screen caps and it's shocking how bad that old dvd looks.

Posted: **Tue Oct 18, 2016 3:32 pm**

Especially because it was one of those "Superbit" discs!

Posted: **Thu Nov 17, 2016 1:53 pm**

Blu-ray.com

Posted: **Thu Nov 17, 2016 1:56 pm**

Another reliably dense Svet review. Expected him to "reach out to Criterion regarding a glitch" because of the lens flares in this like he did with The Darjeeling Limited, surprised he has learned his lesson.

Posted: **Thu Nov 17, 2016 3:46 pm**

There are others - on YouTube and Facebook where an posted excerpt was announced - who compared Jon Brion to Alex in A Clockwork Orange. Of course, it didn't help he had to mention Singin' in the Rain as well.

(Actually, he also comes off as Jack White trying to look like Alex. #NotAnInsult)

Posted: **Fri Nov 18, 2016 11:34 am**

I ignored PDL until last fall mostly because i hated Sandler's idiot persona so much that i considered it a badge of honor that i had never seen even one of his movies.

But amazingly enough Sandler was able to channel some kind of Tati meets Lewis meets DeNiro meets Popeye magic (probably for just just long enough before he turned back into a pumpkin and had to be on Leno to promote "Eight Crazy Nights") and turns in this unique gem of a performance. I don't think anybody else could've done this role justice...I'm not saying i want to go back and watch "Little Nicky" or "The Waterboy" but after watching the CC Blu of PDL i felt kinda dumb for being so prejudiced against him for so long.

Posted: **Fri Nov 18, 2016 12:27 pm**

barryconvex wrote:I'm not saying i want to go back and watch "Little Nicky" or "The Waterboy" but after watching the CC Blu of PDL i felt kinda dumb for being so prejudiced against him for so long.

It's basically the film with Adam Sandler in it that seems to be for those who don't like/don't care for Adam Sandler. Though it is funny saying this nearly fifteen years later as the user comments at the time - mostly from Adam Sandler fans - "didn't get it".

And yet, this film was made by someone who genuinely liked Adam Sandler. Thus, it wasn't made to spite him or make him look ridiculous. Nor do I think this was the proverbial "put lipstick on a pig" and trying to make him into something else (or "dumb comedian" turned "art-house darling" and all done for smug irony). I think it was a way of channeling his genuine strengths and make it into something more than just a shtick.

And for the record, I liked Adam Sandler as a kid/early teenager and I still enjoy Happy Gilmore for what it is (Billy Madison to some extent also but I lean more toward HG).

Posted: **Fri Nov 18, 2016 2:14 pm**

To me, Punch Drunk Love is Adam Sandler's Eternal Sunshine of the Spotless Mind. You don't particularly expect him to pull off such an incredible job so far away from his usual works. And yet...

Posted: **Fri Nov 18, 2016 4:47 pm**

Try watching Carry's films after only seeing Truman and Eternal Sunshine. With the exception of Dumb and Dumber 1 it's nearly impossible for me to watch his other films. Regarding Sandler PTA always said he liked Sandler, and his role here is the idiot Sandler, just explored far more creatively, brilliantly and unique. The rage underneath in a way helps give a serious undertone to his personal, along with his seven sisters.
One thing that interest me is why Carry, Sandler and sadly Williams didn't continue doing serious roles. Was it that they weren't offered more serious roles? Wanting to retain their comedian persons? I wonder weather any awards would have helped like it did for Carell. To think Richard Gere won the Globe for Chicago ahead of Sandler.

Posted: **Fri Nov 18, 2016 5:24 pm**

djproject wrote:And yet, this film was made by someone who genuinely liked Adam Sandler. Thus, it wasn't made to spite him or make him look ridiculous. Nor do I think this was the proverbial "put lipstick on a pig" and trying to make him into something else (or "dumb comedian" turned "art-house darling" and all done for smug irony). I think it was a way of channeling his genuine strengths and make it into something more than just a shtick.

PTA does seem to have a particular talent for bringing out the best in actors whose talents have been dulled or neglected by other projects (Tom Cruise and Mark Wahlberg being other examples). Anderson has admitted that he genuinely loves low-brow comedies like Billy Madison and Ted. I agree that he's able to bring out other aspects of these actors' registers without being condescending. It always seems to come out of a genuine impulse: "I love this actor and his work and I want to try him out in this different type of role."

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