The Master (Paul Thomas Anderson, 2012)

[James Mills]

YES

[mfunk9786]

I was hoping for Jon Brion's triumphant return, but I'll take it.

[Alan Smithee]

I don't know if that will ever happen. It seems like Anderson has entered a new phase of his career, more focused on societal issues with TWBB. I don't think Brion would have been appropriate for that film. I'm psyched for Greenwood.

[mfunk9786]

Wait, what does that have to do with... what?

[Alan Smithee]

Sometimes when people enter new phases of their life or their artistic process people from the past aren't appropriate as companions or collaborators. Maybe Anderson feels his time with Brion has passed. For gods sake There Will Be Blood is one of the most acclaimed scores of recent memory what's so hard to understand.

[mfunk9786]

Just glad that PTA's psychiatrist posts here and can clear all this up

[Jean-Luc Garbo]

He's talking about how the musical differences between Greenwood (of Radiohead) and Brion may or may not match the tone of the film. Or do the two musicians sound the same to you?

[mfunk9786]

I just think it's absurd Radiohead fanboyism or outright clueless to imply that Brion wouldn't be able to score a serious film.

[Aspect]

I agree. Jon Brion's incredibly serious, yet colorful, music for Magnolia DROVE that film. The man is a phenomenally versatile composer and I would love for him to work with Anderson again.

[swo17]

I'm not sure though if Brion has the skills necessary to pick the right song from his back catalog or pick the right Arvo Pärt song.

[mfunk9786]

I'm not sure though if Brion has the skills necessary to pick the right song from his back catalog or pick the right Arvo Pärt song.

Swo must know that Member of the Year voting is right around the corner. <3

[Alan Smithee]

I just think it's absurd Radiohead fanboyism or outright clueless to imply that Brion wouldn't be able to score a serious film.

I think all of Andersons films are serious but I don't know that I've ever heard anything by Brion that would fit TWBB so I don't know if he would be the appropriate choice. One doesn't need to be a filmmakers shrink to see the general arc that their career is taking.

I think Andersons first few films were truly about his love of characters and their attempts to connect with and love each other. IMHO the characters in TWBB represent facets of society more than they are fleshed out human beings.

Brion is an excellent composer, doesn't mean he's right for the project. Greenwood's scores thus far have been good to excellent (opinion) and correct me if I'm wrong but I don't see Radioheads name anywhere near the credits. Greenwood's work as a composer is different than his work with Radiohead just as Brions work on Magnolia, Punch Drunk Love and I Heart Huckabees is different than his work with Kanye West and Fiona Apple or his scores for The Other Guys, Step Brothers or a certain Jennifer Aniston vehicle which shall not be named. In his less ridiculous snark swo is correct that it resembles Arvo Part more closely than Radiohead.

Forgive me if I didn't give enough wait to an opinion that I thought was fairly harmless but your response is similarly presumptuous and weightless. You should stick to your more insightful style that you occasionally employ rather than the snarky "amiright?" attention seeking.

In the end maybe Anderson wanted to bring along Brion but scheduling didn't allow it. I don't think I'll be in the minority when it comes to being happy to see Greenwood return.

[James Mills]

I just think it's absurd Radiohead fanboyism or outright clueless to imply that Brion wouldn't be able to score a serious film.

Nowhere was it ever "implied that Brion wouldn't be able to score a serious film." I'm not even sure how anyone could have read his posts that way without the sole purpose of trying to be disputatious.

Your ubiquitous petulance on these boards is nauseating, quite frankly.

[zedz]

Radiohead fanboyism

Is this still a thing after that last album?

[Brian C]

You mean their best one?

[zedz]

Nah, that newspaper one with the CD of b-sides in it. You might have missed it.

[mfunk9786]

I just think it's absurd Radiohead fanboyism or outright clueless to imply that Brion wouldn't be able to score a serious film.

Nowhere was it ever "implied that Brion wouldn't be able to score a serious film." I'm not even sure how anyone could have read his posts that way without the sole purpose of trying to be disputatious.

Your ubiquitous petulance on these boards is nauseating, quite frankly.

I was just endeavoring to insinuate that Brion's work is pulchritudinous and resplendent, and I have no disquietude about his thematic tractability.

[Tom Hagen]

Nah, that newspaper one with the CD of b-sides in it. You might have missed it.

"Lotus Flower" through "Separator" is one of the best album sides they've put together; throw in "Bloom," call it an EP, and people would have talked about it all year.

On topic, what's the over/under on this thread eclipsing The Tree of Life for most pre-film release posts?

[tarpilot]

Y'all just need your thetans cleansed

[Brian C]

"Lotus Flower" through "Separator" is one of the best album sides they've put together; throw in "Bloom" [and "Morning Mr. Magpie"], call it an EP, and people would have talked about it all year.

[John Cope]

Some early, keenly observed backstage pics.

[John Cope]

More confirmation on the whole 65 mm thing.

[Roger Ryan]

More confirmation on the whole 65 mm thing.

So, is anyone thinking THE MASTER will actually be booked into IMAX theaters? I'm all for greater resolution, but this almost seems like an unnecessary expense as I'm pretty sure most of the film's audience will end up seeing it via 35mm at the local arthouse cinema.

[Matt]

I can see special screenings in NY and LA, but nothing on a wider scale than that. IMAX/65mm prints are ridiculously expensive, and Anderson's movies just don't make much money.

[The Elegant Dandy Fop]

I am a bit late in this, but how can anyone deny the talent Jon Brion has and his ability to compose a "serious" score? Doesn't anyone remember the soundtrack to Hard Eight? It's not a goofy soundtrack with marimbas, slide-whistles, gongs, etc. Admittedly though, Johnny Greenwood is a more world renowned figure than Jon Brion and will get more credit for a score based on that principal alone. The Jon Brion scores for P.T. Anderson films are among the most beautifully melodic of the last twenty years and maybe doesn't get the credit it deserves as it doesn't exactly pull and grab attention immediately like the avant-garde jaggedness of Greenwood's music.

I'm still not sure about why he's shooting in 65mm. Maybe it's to achieve some sort of detail level or scale, but like Matt said, I can't imagine those screenings going farther than LA and NY. Not to criticize as I sure Anderson knows what he is doing, but it seems t be on the excessive side to shoot that way. Either way, there's no denying it's going to look fantastic in that format.

Aside from that, those behind the scene photos are making me incredibly optimistic for the picture and it will be at least pretty to look at and admire Jack Fisk's sets. This certainly does sound to go along more of the serious tinge in Anderson's work and I do prefer his more humorous and light-hearted works (Boogie Nights and Punch-Drunk Love, though I use "light-hearted" pretty loosely), but with every bit of new information coming out, it piques my interest more and more.