The cult of hedonism without genuine pleasure, success which turns into decline and destruction, heavy burden of family relations, oppressed outsiders and story with intertwining narratives. These are only some of the distinctive features of Paul Thomas Anderson’s style.
Self–taught, like some other talented filmmakers such as Christopher Nolan, Stanley Kubrick, Quentin Tarantino and Steven Spielberg, Paul Thomas Anderson has proven that you don’t need to get a special education to make films if you’re passionate about it. Moreover, one of the benefits of not going to film school is that you are not limited by cinematic standards and techniques, so you can do whatever you want with your camera and imagination like one of the top of Gangsta films makers – Guy Ritchie, and Paul Thomas Anderson makes the most of that advantage.
You can choose one of Netflix’s most–watched movies like but made by Anderson and you won’t miss. Hard Eight(1996) is about a professional gambler and a regular at casinos Sydney for sure now we havee no need to travel so far, players find their needs online at sites similar to 500freeslots.com, Boogie Nights (1997) tells us about ups and downs of a young pornstar, Magnolia (1999), which the director considers being his best work, There Will Be Blood (2007) revealing a story of family relationships, oil production, religion and insanity, The Master (2012) is a moody story about a veteran (Joaquin Phoenix) who returns home and became seduced by The Cause, religious movement, and its convincing leader (Philip Seymour Hoffman), (2017), which tells a story of a famous dressmaker, Reynolds Woodcock, and his his muse, Alma.
What are the cinematic trandmarks of Paul Thomas Anderson’s work that make his films so prominent and loved by many?
Firstly, we should mention the way he operates his camera as he is known for his penchant for kinetic camera work. In his Boogie Nights the camera is in constant motion, highlighting the chaotic and irrepressible lifestyle of adult film stars. When Eddie, played by Mark Wahlberg, the lead character of Boogie Nights, enters his room, the camera performs a 360–degree turn and lets us find out everything we need about the main character, his preferences and dreams. We observe the posters with cars and women, the guitar, basically we can observe his whole life with one steady camera movement.
Conventional suspense is reached by playing with time and putting off the inevitability. But Thomas Anderson went even further in his first film, Hard Eight, by simultaneously editing the suspense and character. In the scene where Sydney, played by Philip Baker, Hal breaks into Jimmy’s (Samuel L. Jackson) house, finds his weapon and expects him to kill, we merge the three different scenes into one. These are: Sydney is waiting in the dark, Jimmy is gambling in the casino, while John and Clementine are enjoying their drive. This cocktail of contrasts, coupled with a three–minute delay, creates a lot of tension. This episode is all about Sydney and his mood. Sitting and thinking about the decision he’s about to make, the camera slowly pushes us into Sydney and we can feel what he feels. When we see Jimmy in the casino and John and Clementine in the car, we don’t see them as they are and don’t share their excitement or idyll as we see them through the imagination of Sydney, burdened with his decision. This is where the suspense collides with character.
Light and Sound
Speaking about the usage of light and colour in his pictures, it is obvious that he uses mostly muted palettes for the objects in the frame, unless he wants to highlight a key element with the brighter light.
Another sign of Thomas Anderson’s films is location. Almost all events in his films take place in San Fernando Valley.
Music better than anything else can convey and enhance a character’s emotions. Being fond of musical culture Anderson thoroughly approaches soundtrack and music design in his films. Sometimes he uses musical oppositions between mood and reality, but sometimes he reinforces a setting or a certain emotion. His Punch-Drunk Love is the perfect example of how masterfully he uses sound to convey a sense of anxiety. Barry Egan (Adam Sandler), filled with anxiety, becomes a witness to a car accident. The sound leading up to this point is minimal. Suddenly, the car rolls over and the sudden movement is accompanied by a loud sound. And it’s not the only scene where Anderson plays with sonic contrast, it helps us feel and understand what it means to be Barry Egan.
Cast and characters
His characters are complicated, multifaceted and peculiar with plenty of flaws and vicious desires. They are on the verge of self-destruction, mired in strange family relationships with no moral values, even the value of life. You may take your time to sympathize with them but you never cease to be amazed at how detailed Anderson draws their personalities. He doesn’t like to experiment with cast much and he trusts his main characters to experienced actors such as Philip Seymour Hoffman, Joaquin Phoenix, Daniel Day Lewis and Julianne Moore.
In his films Paul Thomas Anderson opposes vices and the desire for the divine in the human, often lost soul sometimes due to gambling, like thousands of other people googling best uk slots online. There is no winner in this fight of desires.