There Will Be Blood (Paul Thomas Anderson, 2007)

[Awesome Welles]

I just saw the second trailer. I know PTA has said that he believes that Magnolia will be his best film (I personally prefer Punch Drunk Love) but I am seriously thinking this will be his magnum opus. It looks fantastic!

[Fierias]

The next Citizen Kane?:

From Cinematical: Fantastic Fest Review: There Will Be Blood

From Variety: "There Will Be Blood" screens at Fantastic Fest

[Antoine Doinel]

According to Smith's fansite, FABOAH was largely recorded by Smith himself with "additional recording" by Jon Brion (among many others). As it was a posthumous record, final production was handled by "family and friends" after his death.

Via the Radiohead fansite At Ease, here are some details and a tracklist for the soundtrack.

[tryavna]

'There Will Be Blood' Soundtrack features 10 tracks. 'Smear' is the only track we already know when the composition premiered back in 2004, performed by the BBC Concert Orchestra.

If anyone's curious about that track, I can upload an MP3 of the BBC performance to YouSendIt or some such site. It's pretty easy to find elsewhere, though.

[Jeff]

Hollywood Elsewhere:

A tough-minded exhibition guy from another continent says that "'awesome'' is the only word I can think of to describe Paul Thomas Anderson's There Will Be Blood," which he saw yesterday.

"As someone who fell giddily for Boogie Nights only to be frustrated by the excesses of Magnolia and disappointed in many of the indulgences of Punch Drunk Love, this new film does more than restore PTA's stature as one of the most exciting American filmmakers -- it puts him in the leagues of the masters.

"Blood is two hours and 45 minutes of cinematic heroin. It's a frightening, overwhelming, punch-to-the-gut work -- as strong as anything that John Huston or Stanley Kubrick ever made.

"Too much will be written and said about the accomplishments of Daniel Day Lewis's performance to start drooling here. Let's just say that the Best Actor Oscar is his to lose, not that I imagine he'd care. Paul Dano, in a difficult role, matches him scene for scene -- the breakout performance of the year. And Johnny Greenwood's score is still giving me chills.

"The film is probably too grim and narratively uncompromising to break out commercially beyond the realms of where Jesse James aspires (and may not reach). But it deserves to, and will, do better than that film and certainly is more than just an actor's showcase like Last King of Scotland was. $20 to $30 million is possible, assuming the big awards come through? For my money Day-Lewis pushes the potential of the film beyond the art milieu.

"I can forgive the film for a shocking, visceral final scene that teeters on the verge of hysteria and unfortunately dives right off the edge. And also for that same scene's logic-defying continuity problems.

"Despite those minor flaws, this is a cinematic and artistic experience that few other American films have delivered in recent memory."

[hot_locket]

Jesus, I'm really excited for this now. The only film of his I haven't seen is his first-- is it worth seeking out?

[Magic Hate Ball]

Jesus, I'm really excited for this now. The only film of his I haven't seen is his first-- is it worth seeking out?

It's ok, sort of like the work of a talented amateur (whch is what Hitchcock said of his original Man Who Knew Too Much). Worth watching.

'There Will Be Blood' Soundtrack features 10 tracks. 'Smear' is the only track we already know when the composition premiered back in 2004

If anyone's curious about that track, I can upload an MP3 of the BBC performance to YouSendIt or some such site

Yes please do. Also, In Rainbows is really good, isn't it? I'm looking forward to the songs being used in movies.

[John Cope]

Jesus, I'm really excited for this now. The only film of his I haven't seen is his first-- is it worth seeking out?

In my mind it's still his best, and I say that as one who has loved everything he has done. But Sydney is a sharply cut diamond in the midst of the much larger, gaudier jewelry (and I can't say just how pleasing it is to see that the IMDB page has this one properly titled--now just for all those pesky video boxes). If it ever seems unwieldy, as in the post-kidnap assessment scene at the motel, it's only because those moments of chaos stand in such strict relief to the rest, all so precisely organized by the razor sharp mind of the absolutely indelible title character. What's fascinating about the scene at the motel, even as it goes on and on, is how subtly and smartly our attention is directed to the real central attraction, which is Sydney's guiding intelligence, going about the pressing business of ordering things in order to salvage them. And, of course, the deep well springs of compassion and sorrow that fuel his drive to guide. It's remarkable to think that with this first film, and during a period when he could have easily just aped Tarantino, Anderson chose to go so much deeper than the norm of what was expected in low budget American indies. That's why this film is great, I think. And what staggering command of the camera he already shows here. There are flourishes (the early training stuff with John) but Anderson deploys them judiciously--and, once again, I speak as one who was totally thrilled by the operatic bloodletting of Magnolia, but that's another picture. There are also wise, quietly played touches (the initial approach in front of the diner, the jump cut to the front seat of the car, the jarring yet somehow not elision of time between the first act and the second).

In short, instead of an issue oriented drama of good intentions or the standard youth oriented relationship picture, Anderson began to establish his theme of affection for unorthodox families, never better exemplified than in the probing and inconclusive final image--was this a confrontational gaze upon an unsalvageable soul or a gentle caress of the lines of age and living? Or both.

BTW, there was a great article in Film Comment on this picture back in early '97 I believe, when Anderson was an emerging talent. It's well worth seeking out.

[colinr0380]

In my mind it's still his best, and I say that as one who has loved everything he has done. But Sydney is a sharply cut diamond in the midst of the much larger, gaudier jewelry (and I can't say just how pleasing it is to see that the IMDB page has this one properly titled--now just for all those pesky video boxes).

I'm with John Cope - I really like his first film and maybe Boogie Nights a little more, while I was left feeling I'd rather be watching Short Cuts than Magnolia and any film without Adam Sandler in it while watching Punch-Drunk Love! (Which makes it even more surprising that I'm actually looking forward to this latest film, which sounds like it could be fantastic!)

John Cope, what was the story behind the change from Sydney to Hard Eight? Was it a marketing thing to play up the gambling angle?

[Magic Hate Ball]

I never understood the dislike for Punch-Drunk Love. It regularly tops my favorite film list (or at least hangs around in the general vicinity, looking to pick up chicks). It's tightly edited, it gives me cramps, and it looks amazing. Perhaps I'm just really similar to Sandler's character and can empathise with him, which is why the movie practically turns me to tears at the end. I have a thing for movies like it, the kind where weird sounds prevail, things happen for no explainable reason (yet need to explanation), so on and so forth, and Punch-Drunk Love is a great example of that kind of film.

Of course, I'll probably get blasted for not liking his "earlier, funnier work" or something.

Good god, I'm dying to see this.

[Antoine Doinel]

the movie practically turns me to tears at the end.

Me too. I adore Punch Drunk Love and Sandler's mini-speech at the end of the film at Watson's door is desperately beautiful. The score, the beautiful visual touches (their meeting at the hotel in Hawaii, the phone booth sequence with the light at the end) are magical. And I think that's the key word, because I think Anderson was really trying to capture that tilt-a-whirl of emotion that comes from falling in love, while trying to mature as a person. And I really think he nailed it.

As for Sydney, I enjoyed it, but is my least favorite Anderson film. It boasts some solid performances but plays as a very minor work and I think his command for writing and directing is much stronger in his other pictures.

And I think I'll just reiterate how fucking excited I am for There Will Be Blood.

[tryavna]

If anyone's curious about that track, I can upload an MP3 of the BBC performance to YouSendIt or some such site. It's pretty easy to find elsewhere, though.

Yes please do. Also, In Rainbows is really good, isn't it?

I've uploaded the song to both RapidShare and YouSendIt. (I find YouSendIt a little quicker, but of course, it expires pretty quickly.) Enjoy.

And yes, I am really digging In Rainbows. It's easily their most consistent and satisfying album since Kid A. "Reckoner" finally hit me emotionally last night. That song is the sound of absolution.

[domino harvey]

Punch-Drunk Love is Anderson's best film for sure, but all his films offer so much. The Academy really doesn't like Anderson, I'll be really surprised if they honor this film beyond screenplay and best actor no matter how great it ends up being.

[Magic Hate Ball]

The Academy really doesn't like Anderson, I'll be really surprised if they honor this film beyond screenplay and best actor no matter how great it ends up being.

I can imagine their response:

"There Will Be Blood is doubtlessly Anderson's best film. Not only is the acting, directing, and sound perfect, but the story is incredible. Doubtlessly the greatest film in sixty years. However, it is not Oscar material..."

Remember back in the 60's when all you had to do was buy a bag of peanuts in Hollywood and you'd win an Oscar?

And yes, I am really digging In Rainbows. It's easily their most consistent and satisfying album since Kid A. "Reckoner" finally hit me emotionally last night. That song is the sound of absolution.

I can't wait for the boxset to be released so I can hear it on glorious vinyl. I'm going to rewire my stereo just for the occasion.

the movie practically turns me to tears at the end.

Me too. I adore Punch Drunk Love and Sandler's mini-speech at the end of the film at Watson's door is desperately beautiful. The score, the beautiful visual touches (their meeting at the hotel in Hawaii, the phone booth sequence with the light at the end) are magical. And I think that's the key word, because I think Anderson was really trying to capture that tilt-a-whirl of emotion that comes from falling in love, while trying to mature as a person. And I really think he nailed it.

I rather like this theme essay on Punch-Drunk Love. The film sort of reads like "My first color theorie by paul", but it's tremendously effective. I loved the phone booth, when the light goes ding with the music. So many little subtleties; like Wes Anderson, P.T. Anderson creates his own little world and, like Wes, wallows in it.

As for Sydney, I enjoyed it, but is my least favorite Anderson film. It boasts some solid performances but plays as a very minor work and I think his command for writing and directing is much stronger in his other pictures.

Similar here. It's sort of like he tried to mix Blue Velvet and Casino. It doesn't suck, (it really, really doesn't suck) but it's defenitely not his best.

[Antoine Doinel]

I rather like this theme essay on Punch-Drunk Love. The film sort of reads like "My first color theorie by paul", but it's tremendously effective. I loved the phone booth, when the light goes ding with the music. So many little subtleties; like Wes Anderson, P.T. Anderson creates his own little world and, like Wes, wallows in it.

Thanks for the link. I agree, with your comparison of the Andersons creating worlds that they inhabit fully of their own style. Even when working in a genre mode (Boogie Nights), Anderson still brings many of his own signature touches which elevate into something else entirely. I'm excited to see how he forms the great American western epic when its in his hands.

Paramount Vantage has made the entire script available online in a PDF.

[Jeff]

I guess it was inevitable that the final poster wouldn't be half as cool as the teaser.

[KeystoneCop]

I guess it was inevitable that the final poster wouldn't be half as cool as the teaser.

I think the final poster, if that is indeed what it is, is so weird that it becomes pretty damn awesome. I mean, it's a full on star shot, like we see on many posters, but DDL looks like he's trying to take a shit. It is in no way a glamour shot, and I find that strangely appealing.

[Magic Hate Ball]

It's not really a surprise that the new poster isn't as unique as the teaser poster, since a "wide release" poster has to attract more of an audience. "Wow, Daniel Day Lewis! I want to see this!"

It looks like it's just a cut-down version of the original script, but it'll be nice to have a version that hasn't been run through a fax machine.

[exte]

Paramount Vantage has made the entire script available online in a PDF. You can grab it here.

Danke!

[LeeB.Sims]

Either I'm super-dense, or There Will Be Blood is the only title without a downloadable scrip available. This early in the morning it's really a toss up between these two options.

[Matt]

Either I'm super-dense, or There Will Be Blood is the only title without a downloadable scrip available.

Lee, Here ya go.

[Jeff]

Two more very strong reviews today. One slightly spoilerish one from Variety's Todd McCarthy, and one from Kris Tapley, who is Variety's Oscar columnist.

Here is a great new trailer which features bits of Jonny Greenwood's score.

[exte]

Here is a great new trailer which features bits of Jonny Greenwood's score.

There will be Widescreen - just how wide did they shoot this, my God! I can't stand any more trailers until I finally see it. Teasing isn't the word...

[Magic Hate Ball]

Here is a great new trailer which features bits of Jonny Greenwood's score.

There will be Widescreen - just how wide did they shoot this, my God! I can't stand any more trailers until I finally see it. Teasing isn't the word...

No, it's 2.39, it just looks weird without black bars on the top and bottom.

[eez28]

Here is a great new trailer which features bits of Jonny Greenwood's score.

Love the trailer, but crap, I really need to stop watching any further new ones they may release.