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PostPosted: Mon Oct 23, 2017 11:10 pm 
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I could be reading too much into it, but I detected a real sense of menace in the trailer which I wouldn’t associate with more middlebrow costume dramas.
Also, maybe Anderson has made a drama that reflects his love for Ophuls? (Thematically I mean, not style.)


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PostPosted: Mon Oct 23, 2017 11:45 pm 
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Style too. Anderson has acknowledged Ophuls' camerawork and tracking shots as an influence on his own filmmaking. See for example the featurette he recorded for the Criterion Madame de... DVD.


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PostPosted: Tue Oct 24, 2017 10:37 am 
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I’m probably in the minority here but I haven’t cared for anything he’s done since TWBB. So I’d love to see something more traditional with a little bit of bonkers thrown in.


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PostPosted: Tue Oct 24, 2017 10:38 am 
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Luke M wrote:
something more traditional with a little bit of bonkers thrown in.

But that's what was so spectacular about The Master!


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PostPosted: Tue Oct 24, 2017 10:45 am 
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Indeed, that description pretty much epitomizes Freddie Quell.


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PostPosted: Tue Oct 24, 2017 11:06 am 

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FakeBonanza wrote:
I've always wanted to see Daniel Day-Lewis play Jeremy Irons.

I ROFLed. Thanks!


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PostPosted: Tue Oct 24, 2017 9:22 pm 
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My wife heard this morning that a book she contributed to was used by Anderson in researching this film. So now I'm definitely going to find out just how much he gets wrong!


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PostPosted: Tue Oct 24, 2017 9:44 pm 
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I got a bit of a Vertigo vibe from some of the implications about the way Day Lewis exists in a relationship, and the lines about him dressing her and telling her to like it- and I imagine one could cut a fairly sedate, chamber drama looking trailer for that, too. I'm disappointed in a Day Lewis movie that doesn't offer a fun accent to hear him talking in, though.


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PostPosted: Wed Nov 01, 2017 11:42 am 
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Vague and possibly unsubstantiated plot rumors as repeated by Tom O'Neil on his Gold Derby podcast:

[Reveal] Spoiler:
Quote:
I have not seen it but I did meet last week with a group of people who have seen it and who are involved in the industry...Their reactions were split. They all agree it will be nominated for Best Picture. Several of them said there's no way it could win. Two people said they still thought it could win...The surprise about the movie from what I'm hearing is that it has a kind of jarring ending like There Will Be Blood...apparently something like the equivalent to that happens at the end of Phantom Thread, we don't know what. It was reputed at first to be a violent sex scene and rumors were flying that it's like "oh my God, it's Fifty Shades of Gray at the Oscars!" Then, "no, no, it's not a sex scene." So there's all this mystery and it's got this big whollop of a finale that's supposed to be controversial.


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PostPosted: Wed Nov 01, 2017 11:47 am 
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I'm glad the air of menace/'there's more to this than we're seeing' from the trailer wasn't just my imagination!

Re: there being no way it could win - I'm not necessarily seeing what the ace in the hole that's going to beat it is. That's, of course, speaking out of sheer speculation since I haven't seen it yet, but unless The Post is excellent and the Academy doesn't mind awarding another journalism film so soon after Spotlight. I don't think Dunkirk gets to the finish line, either.


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PostPosted: Wed Nov 01, 2017 12:44 pm 

Joined: Mon Dec 05, 2016 3:47 pm
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mfunk9786 wrote:
Re: there being no way it could win - I'm not necessarily seeing what the ace in the hole that's going to beat it is. That's, of course, speaking out of sheer speculation since I haven't seen it yet, but unless The Post is excellent and the Academy doesn't mind awarding another journalism film so soon after Spotlight. I don't think Dunkirk gets to the finish line, either.

Move this post if it's off topic, but Three Billboards outside Ebbing, Missouri is rising fast and could capture the zeitgeist of the public over sexual assault in the industry and accountability within a community that I could very easily see winning the top prize (along with Screenplay and an acting prize, which seems to be a necessity in this new era of awards).


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PostPosted: Wed Nov 01, 2017 1:01 pm 
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I keep forgetting about that one, you're absolutely right.


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PostPosted: Wed Nov 01, 2017 1:19 pm 
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While I agree that there is no clear front-runner at this point, and while very few people have seen Phantom Thread, I would be flabbergasted if it won Best Picture. PTA's style is so idiosyncratic and off-beat that I can't imagine any of his films ever gaining that kind of traction. I'm still baffled that There Will Be Blood got so many nominations. I feel like he pulled off an amazing stunt with that film, Trojan-Horsing this macabre, surreal black comedy under the guise of a prestige picture.


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PostPosted: Wed Nov 01, 2017 2:20 pm 
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Then again who would have guessed Moonlight over La La Land?


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PostPosted: Wed Nov 01, 2017 3:54 pm 
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Certainly not Faye Dunaway.


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PostPosted: Wed Nov 01, 2017 4:10 pm 
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I just had a vision of next year's Oscars hiring Faye Dunaway to run onstage before every award is announced to blurt out "It's La La Land!" before being carted back off.


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PostPosted: Wed Nov 01, 2017 5:37 pm 
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I know this thread is for Phantom Thread but talking about the Oscars has me thinking that the next Oscars will be so much more intriguing with what's going on in Hollywood.


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PostPosted: Wed Nov 01, 2017 5:53 pm 
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That seems like a pretty good topic for the thread for talking about the Oscars!


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PostPosted: Thu Nov 02, 2017 1:18 pm 
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Entertainment Weekly interviews Anderson about the film


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PostPosted: Thu Nov 02, 2017 1:54 pm 
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Interesting tidbit: there won’t be a credited DP on the film, because Anderson considered it a collaborative effort with the camera crew.

Quote:
You have to be very, very careful because there are way too many good cinematographers that I would not put myself in that class for a second.


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PostPosted: Fri Nov 03, 2017 8:49 am 
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mfunk9786 wrote:
Interesting tidbit: there won’t be a credited DP on the film, because Anderson considered it a collaborative effort with the camera crew.

Quote:
You have to be very, very careful because there are way too many good cinematographers that I would not put myself in that class for a second.

Similar to what Kubrick did on his last two films (also shot in England, of course) where there was a "Lighting Cameraman" credit, but no actual DP, which implied a more collaborative approach with Kubrick ultimately calling the shots.


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PostPosted: Mon Nov 20, 2017 3:43 pm 
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There are some industry screenings in NY and LA this coming week - they're already all sold out unless you RSVP with a guild affiliation (apparently there was a little bit of a taste available to the general public), the website is here


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PostPosted: Mon Nov 20, 2017 6:18 pm 
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Ugh, how'd I miss that. Oh well.


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PostPosted: Mon Nov 20, 2017 6:20 pm 
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FrauBlucher wrote:
Ugh, how'd I miss that. Oh well.

I did too - they were gone almost instantaneously unless you had a Google Alert for the film or something


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PostPosted: Mon Nov 20, 2017 6:29 pm 
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Yeah, it's a shame. I got into advance screenings of his last two films and I think I posted about both here. The Master was one of the most memorable experiences I've had at a film screening, and Anderson wasn't even there. Inherent Vice itself was a bit of a disappointment though, and having so many walkouts at the screening when so many people were trying to get in seemed to amplify that.


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