Bernard is joined by Zach this week, who brings with him an interview with Chilean filmmaker Sebastian Silva about his new film Nasty Baby, starring Tunde Adebimpe and Kristen Wiig and the director himself. Also, with the release of Netflix’s Beasts of No Nation, the boys try to predict what the future of digital distribution will look like and how streaming sites like Netflix, Amazon, Hulu and the like will impact the movie theater industry. PLUS, (you guessed it) our Indie Picks of the Week!

Topics

• Indie Picks (1:21)
• Digital Distribution (11:24)
• Sebastian Silva (24:21)

Articles Referenced

Beasts of No Nation Review
Cary Joji Fukunaga Interview
Junun Review
Nasty Baby Review
Sebastian Silva Interview

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Paul Thomas Anderson’s spellbinding music documentary Junun takes viewers on a musical expedition through Jodhpur, India. Following the month-long musical partnership between Radiohead guitarist Jonny Greenwood (composer of film scores for Anderson’s films since There Will Be Blood) and Israeli composer Shye Ben Tzur, who lives in India and records with the group Rajasthan Express, Junun is a fly on the wall look at the recording of their forthcoming album of the same name (set for release on November 13th). Forgoing explanatory talking heads, the documentary encapsulates the experience of witnessing these songs as they are developed. Running at a slight 54 minutes, about the length of the album itself, Anderson’s debut documentary is also the filmmaker’s first time shooting a film digitally.

The director toys with the camera during takes, adjusting focus or repositioning himself. He even implements a drone camera for some stunning shots of the Indian landscape that surrounds Mehrangarh Fort, the intricately designed building in which the group records their album. The moments where the camera veers across the room too quickly, or a pigeon’s coo is picked up by the microphone before the bird gets shooed away, help establish the documentary’s immersive quality. Much of the movie is beautifully photographed, Anderson panning from one emotive performance to the next. Junun‘s opening shot is a cleverly designed, slow 360-spin around the room that lands on specific musicians as they join in on the song. Implementing the touch of a veteran music video director, Anderson creates some magnificent sequences that swell in time with the building tunes.

The real reason to see the documentary is the distinctive, eclectic sound produced by Greenwood, Tzur and The Rajasthan Express. Junun relegates both Greenwood and Tzur to the background in most scenes, though their presence in helping to shape the project is clear—Anderson himself appears just as briefly for a group photo and during the end credits. Instead, the documentary highlights the extremely talented musicians of Rajasthan Express. In particular Aamir Bhiyani’s spastic trumpet lines—the stirring burst of notes from his instrument. Junun captures the collaborative spirit of skilled musicians, chronicling the recording of this team’s fascinating sound in an enjoyable, concise documentary.

The Independent Spirit Awards never fail to entertain us, here are the best moments from last night’s show.

#1. Fred Armisen and Kirsten Bell wrote a song making fun of themselves for being a little studio and a little indie.

#2. Nightcrawler picked up two awards! During his acceptance speech, Dan Gilroy calls for more indie movies, less superhero remakes.

Full quote: “Independent film, the foundation and everybody here today, I think are holdouts against a tsunami of superhero movies that have swept over this industry. We have survived and we have thrived and I think that’s true spirit.”

#3. Paul Thomas Anderson slams American Airlines for losing his luggage. Note: The airline is a major sponsor of the awards show.

Full quote: “Don’t fly American Airlines, man. They will f—ing lose your luggage.”

#4. Bennett Miller tried covering it up later, insisting it was United Airlines. Good save.

#5. Jared Leto’s err.. fashionable outfit?

#6. Justin Simien pleads for more diversity in acceptance speech for Dear White People.

Full quote: “I started writing this movie some 10 years ago as an impulse because I didn’t really see my story out there in the culture. I didn’t see myself reflected back at me in the films I love or the stories that resonated for me. I tried to put myself in the culture. That can be difficult when, along the way, there’s really nothing there to tell you that you belong there. I’m very grateful. If you don’t see yourself in the culture, please put yourself there, because we need you. We need to see the world from your eyes.”

#7. Birdman wins Best Picture over Boyhood. Nobody saw that coming. Oscar race heats up.

Paul Thomas Anderson makes time travel look so easy. His films jump into the era of their stories so wholly, you’d think Anderson walked into the past with his film crew and shot on location. Inherent Vice is no different, with a milieu perfected by shag carpet walls, leather couches, big cars, smoke screens, and plenty of ’70s Los Angeles pulp. So if you’re looking for a gumshoe noir, the credentials are there in abundance, right down to a deadpan narrator. But if you’re looking for a satisfying mystery, Inherent Vice is two and a half hours of brain-twisting that incites feelings, though satisfaction may not be among them. The plot of the film is secondary, nay tertiary, to the atmosphere and characters leading it. So don’t feel bad reacting with utter perplexity to the film’s storyline. And in fact if that’s what your after, maybe read Thomas Pynchon’s book first, because at least there you can earmark pages and underline names.

Watching the film is a bit like trying to grab a goldfish in water. The film begins when stoner private investigator Larry ‘Doc’ Sportello (Joaquin Phoenix) receives an unexpected visit from his ex-girlfriend Shasta Fay Hepworth (Katherine Waterston). She spills on him the story of her new man Mickey Wolfmann, a real estate mogul whose wife and her lover have a plan to send him away to the looney bin and take his money. The next day Tariq Khalil (Michael Kenneth Williams) visits Doc at his “office”—a room at a gynecology office Doc uses—and hires Doc to find an old jail acquaintance of his who owes him money. That acquaintance just happens to work for Wolfmann. Doc takes a trip out to see the latest land development of Wolfmann’s and finds a sex shop on the premises. He’s knocked unconscious and wakes up next to the dead body of Khalil’s jail buddy, surrounded by police.

Thus enters Detective Christian “Bigfoot” Bjornsen (Josh Brolin) a partner-less, Hollywood fame-seeking LAPD officer both determined to screw Doc and use him to help in his own investigation. The exchanges among Doc and Bigfoot are some of the best in the film. After Doc’s Gilligan’s Island-style maritime lawyer, Sauncho Smilax (Benicio Del Toro) helps him out of the police station, he is visited by yet another potential client. A young widow and ex-drug user, Hope Harlingen (Jena Malone) asks Doc to track down her husband, Coy, believing him to be alive. Doc finds Coy (Owen Wilson) easy enough—perhaps a little too easy—when Jade, a girl from the sex shop leads Doc to him while simultaneously warning him to “beware the Golden Fang.” When Shasta goes missing herself, more mystery unravels.

Like fellow LA-based noir Chinatown, the heart of corruption runs deep, and neither the police or FBI can be trusted. Doc is led all over town, and up to a backwards detox house in Ojai. Run-ins with an Aryan biker gang and an underground drug cartel invariably lead to higher stakes. But don’t expect to feel too much tension.

The mystery gets more knotted as this film goes on, broken up with moments of drug-addled weirdness and flashbacks of Doc’s memories of being with Shasta. But like I said the point isn’t exactly to follow along. There’s a lot of dialogue, most of it directly related to the plot, so missing any of it can seem frustrating, but this seems to be Anderson’s intention. In this drug-fueled reverie we’re at the liberty of a distractible hippie. The side-show of interesting things happening around Doc, not to mention the rambling nature of most of the loopy and stoned characters, make it easy to miss key revelations Doc encounters as he sleuths. It’s probably the closest thing to being high any clean person could experience.

The momentum sputters somewhat when the film’s MacGuffin is revealed and suddenly Doc’s motivations seem iffy. And there’s still quite a bit of film left after that point. Things get a little too languid before we’re thrown back into the tornado, almost too confused to feel invested. At that point Inherent Vice becomes more about its moments than its whole, but there are some great ones.

An attempt to track down the people behind the Golden Fang corporation leads to an amusing, jittery, dope-fueled escapade with a coked-out dentist, Dr. Blatnoyd (Martin Short at his weirdest best), and an addict runaway named Japonica (Sasha Pieterse). The huge cast is rounded out by Reese Witherspoon as Doc’s Deputy DA girlfriend, Penny, who simultaneously helps and hinders him in his sleuthing.

Despite the obvious adaptation flaws that make for a more unrealistic mystery—the ratio of discoveries Doc makes versus those that seem to just find him is rather disappointing—Anderson has crafted a two and a half hour dream sequence that is trippy but also diverting. And believe me it’s even better the second time around, not to mention necessary if you want to feel that you’re truly grasping the plot.

Phoenix proves over and over that in the hands of Paul Thomas Anderson he’s quite malleable, and with his mutton chops and a simultaneously stoned but pleasant expression, he’s a surprisingly likable anti-hero. Brolin and his flat-top haircut embodies menacing and ridiculous with an interesting charisma. But as Doc’s dream-girl, Katherine Waterston is the obvious breakout from the film. She really does shine, though it’s interesting to note that in many ways Inherent Vice is more of a bromance than a romance as Doc and Bigfoot, and to some degree Doc and Coy, have the more curious dynamics.

Anderson is nothing if not a man attuned to detail and the film’s visuals reflect his carefulness. It’s at all times psychedelic and beautiful. Adding ballast to each crafted frame is a perfectly curated soundtrack. Anderson may have erred on the side of density for what will most likely be considered a stoner film, and it’s not likely to earn respect as his best film by any means, but there’s always pleasure in watching an auteur work. If you give yourself up to the madcap kookiness of it all, Inherent Vice will lead you down the rabbit hole on an enjoyable escape and leave you with a contact high that isn’t at all unpleasant.

Following this morning’s debut of Inherent Vice, writer/director Paul Thomas Anderson and a slew of the film’s cast took the stage at the Walter Reade Theater for a Q&A with assorted press & industry members. Along with Anderson, actors Joaquin Phoenix, Katherine Waterston, Benicio del Toro, Maya Rudolph, Joanna Newsom, Michael K. Williams, Hong Chau, Jena Malone, Owen Wilson, Sasha Pieterse, and Martin Short were all in attendance for the film’s first public screening and subsequent press conference. Tonight, the New York Film Festival and the Film Society of Lincoln Center has uploaded the full talk to their YouTube page for a those eager to hear more about the mysterious new project.

“I saw The Big Sleep and it made me realize I couldn’t follow any of it, and it didn’t matter, ’cause I just wanted to see what was gonna’ happen next anyway,” said Anderson of his influences for Inherent Vice, along with answers to why he shot the film flat vs. scope and how his actors prepared to evoke the 1970s. Check out the full Inherent Vice press conference from NYFF52 below:

Inherent Vice Press Conference

From behind a haze of pot smoke and hippie dreams, P.I. Larry “Doc” Sportello (Joaquin Phoenix) navigates 1970s Los Angeles as cultures clash amidst the paranoid aftermath of the Manson Family Murders. At the onset of Inherent Vice, Doc is awoken by ex-girlfriend Shasta (Katherine Waterston) who’s found herself part of an entangled web involving a real estate tycoon, a biker gang of “Aryan Brotherhood alumni,” and an Indo-Chinese drug cartel. The real estate developer has gone missing, and soon after, Shasta’s gone too. So, Doc begins a hunt for the answers, if only he can figure out the right questions to ask.

If you’ve heard of or are anticipating Inherent Vice and are not already a Thomas Pynchon reader, chances are it’s because the movie is Paul Thomas Anderson‘s latest. Any film listed in the same filmography as Magnolia and There Will Be Blood has a high standard to live up to; however, Vice doesn’t share too much in common with PTA’s most notable works, aside from its California setting. Despite Inherent Vice‘s deep roster of big name stars, it’s not a sprawling ensemble piece like Boogie Nights although Martin Short and Benicio Del Toro a couple of scenes in which they get to briefly steal the show. It’s certainly more of a comedy than his last two films, but the bizarre laughs are rooted in absurdity in a way unlike his early works. Likewise, Inherent Vice isn’t an intricate character study in the fashion of Anderson’s most recent film (also with Phoenix) The Master, it’s more of an examination of a time and characters that belong to it.

For all its strengths, it’s a challenge to grasp everything Anderson throws at the audience in his movie. Inherent Vice‘s convoluted non-story sees characters enter and exit the picture like a revolving door around Doc. Though clever in his own right, Phoenix’s detective is not the type to piece together a complex case; rather, the movie is far more concerned with the heir of mystery than solving the puzzle in a satisfying way. Its subtle touches will likely have to be sussed out during repeat viewings. But as baffling as the film can be on the initial watch, with PTA’s confident direction Inherent Vice remains captivating throughout.

Joaquin Phoenix wanders through a 70s minefield of strange characters with some impressive sideburns in the first trailer released by Warner Bros. for Paul Thomas Anderson‘s new film, Inherent Vice. In the film, based on the Thomas Pynchon novel, Phoenix plays Doc Sportello, a druggie detective searching for his missing ex-girlfriend. Filled with plenty of 70s craziness, the trailer is a bit hard to follow plot-wise, but features the impressive cast joining Phoenix including Josh Brolin, Reese Witherspoon, Owen Wilson, Jena Malone, Benicio Del Toro, and an incredibly haggard looking Martin Short.

The highly anticipated film has a December 12 release date and is world premiering this Saturday at the New York Film Festival. Be sure to catch our current NYFF coverage and enjoy the trailer below.

Inherent Vice trailer

Simplicity can be the most effective method sometimes, especially in the case of Ron Mann’s documentary Altman. Instead of taking an ambitious approach to legendary director Robert Altman’s life, Mann shows the life and career of his subject with a concise, linear presentation. Framing the film around the definition of “Altmanesque,” Altman goes through the filmmaker’s work one at a time in chronological order, starting with his work on television up to his swan song A Prairie Home Companion. Through this (what appears to be) basic approach, Mann creates a touching tribute to one of film’s greatest directors, a profile that never feels hagiographic because it lets the work speak for itself.

It also lets Altman speak on his own behalf. Culling from hours upon hours of interviews and footage taken before Altman’s death, Mann ends up turning Altman into the posthumous narrator of his own biography. After leaving the Air Force, Altman took up writing before lying his way into directing industrial films, a time of his life he refers to as his film school. From there he directed The Delinquents, and that led him into doing TV work through the 50s and 60s. This is the same time when Altman met his wife Kathryn who, along with other members of Altman’s family, take over narrating duties from time to time.

According to Altman’s wife, pushback from producers over Altman’s attempts to add realism to the shows he worked on (including one time when producers refused his suggestion to cast a black actor in a lead role) led him to quit television altogether, making his way into film instead. That didn’t turn out so well at first, with the head of Warner Brothers kicking him off of the 1967 film Countdown. The reason? After watching footage of Altman’s work on the film, the studio head was horrified to discover he had actors “talking at the same time.”

These kinds of neat anecdotes from Altman and his family make up a lot of the film, something fans of Hollywood gossip will thoroughly enjoy hearing about. These stories, mostly involving techniques used by Altman on his films (including his ground breaking use of the eight-track stereo sound system in California Split) or battles with producers and studios, also paint a vivid picture of the kind of filmmaker Altman was. His films were all over the place in terms of genre, whether it was a war movie like M*A*S*H or a Western like McCabe and Mrs. Miller, but they were all distinctly Altman.

Also unique for Altman was how much he defined himself by his work. Once his sons got old enough they began working as crew members on his projects. At one point his son Stephen talks about how, for Altman, his work took priority over his family (it’s one of the only times any criticism is heard, which isn’t surprising considering the direct involvement of Altman’s family with the production). As Mann goes through the years of Altman’s life, his formal approach starts to make perfect sense. Altman lived for filmmaking, as evidenced by the countless film and TV productions he worked on for over 5 decades, so defining his life through a career-based perspective feels like the most accurate portrayal. According to Altman’s family, there’s no need to delve into his life off set; the film set was his home.

Mann’s use of archival footage and narration to form a biographical narrative, while familiar, also feels somewhat unconventional, a welcome departure from the blandness of most filmed biographies. Mann does make one bold choice, though: peppered throughout are clips of Altman collaborators (including Robin Williams, Bruce Willis, Julianne Moore, Lily Tomlin and Elliott Gould, among many others) giving their own definition of “Altmanesque.” The fact that Mann only uses his interview subjects for these brief moments feels daring, like a defiant move to avoid relying on a talking heads format. The segments also provide a chapter-like structure, with each person’s definition relating to the next phase of the director’s career.

This kind of smart, neat structuring makes Altman one of the year’s finest documentaries, a shining example of how to properly examine the life and career of such a prolific figure.

The New York Film Festival made a splash earlier this year when it was that they would hold the premieres of both David Fincher’s Gone Girl and Paul Thomas Anderson’s Inherent Vice. Beyond those films, the festival will also feature some favorites from Sundance, Cannes & Toronto including Whiplash, Two Days, One Night, Mr. Turner, Foxcatcher, and their closing night film Birdman. In the festival’s newly released trailer, fans get a glimpse of the complete lineup in a sleek minute-long clip.

Notably, the preview has quick looks at the first footage released from P.T. Anderson’s hotly anticipated new film Inherent Vice. While some images from the movie have been released, there are three shots (one of Joaquin Phoenix lighting up at 0:05, another of cops knocking over Phoenix at 0:41, and the last with Owen Wilson and several large pizzas at 0:51) which will certain pique the interest of any Magnolia fan.

Check out the trailer for the 52nd New York Film Festival below:

Fresh from Entertainment Weekly’s Fall Movie Preview issue, here’s the first official look at Joaquin Phoenix and Josh Brolin in Paul Thomas Anderson‘s hotly anticipated new movie Inherent Vice. In the image released on EW.com a mutton chop-clad Phoenix stares down Brolin and his buzz cut at what looks like a diner counter. Both of the actors play detectives, though everything from their outfits to their postures suggests the characters will likely be of opposing mindsets.

Inherent Vice is an adaptation of the Thomas Pynchon novel of the same name. Set in 1970s Los Angeles, Phoenix’s drug-loving detective Larry “Doc” Sportello investigates his former girlfriend’s disappearance. Josh Brolin plays “Bigfoot” Bjornson. Inherent Vice is set to make its debut on Saturday, October 4th as the centerpiece gala screening in the New York Film Festival. Its official limited release won’t be until December 12th of this year, before a nationwide rollout in January.

First Image of Inherent Vice

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From pop-up cameos and supporting roles in recent comedy hits Neighbors and 22 Jump Street, the cast of Comedy Central sleeper hit Workaholics have been crossing over to the big screen with great success. According to First Showing, two of the show’s stars, Jillian Bell and Anders Holm, will increase their profiles in Paul Thomas Anderson‘s upcoming Inherent Vice.

Bell and Holm have both been tabbed in small roles in the crime film, which is set for a year-end limited run. According to Bell, her part is small, but that doesn’t mean it won’t be impactful, as Anderson always gets great turns from even his minor characters. Anderson has also shown great awareness in casting primarily comedic actors and letting them play in a more serious tone.

Specific details on their roles are still unknown, but it will be fun to see them show up.

The film industry suffered a tragic loss Sunday morning when Philip Seymour Hoffman was found dead in his Manhattan apartment. At the young age of 46, Hoffman certainly had more incredible performances in him to contribute to the 63 acting credits already under his belt. Not only was the Academy Award winning actor my personal favorite, Hoffman was also a favorite of the well-known director Paul Thomas Anderson, whom he worked with on a total of five films. The Way Too Indie staff compiled a list of our favorite Philip Seymour Hoffman moments as a tribute to the actor’s profound talent. He will be sorely missed as a great contributor to the film and theatre world.

“This Is That Scene Of A Movie” – Magnolia

In Paul Thomas Anderson’s Magnolia, Philip Seymour Hoffman plays the part of a sympathetic caretaker who watches over a wealthy man who is on his deathbed. His character is undeniably easy to like, as he goes well-beyond his duties as a nurse by helping the dying man reconnect with his long-lost son before it is too late. After finding out that his son is a now a famous motivational speaker who teaches men how to seduce women, Hoffman’s character finds a number to reach him from the back of a porno magazine (another scene that made our list) and spends a great deal of time on the phone trying to convince a call center employee to connect him to the son. After pouring his heart out over the phone, describing the situation as “that scene of a movie” where someone is desperately asking for a miracle, Hoffman eventually succeeds—a victory that will make you want to stand up and applaud as a viewer. [Dustin]

“It’s Not Fair” – Before the Devil Knows You’re Dead

Hoffman was a master of knowing when to be subtle, and when to go big. In Sidney Lumet’s Before the Devil Knows You’re Dead, he played a cold and calculated businessman whose life seems to constantly be on the cusp of total collapse. In this memorable scene from later on in the film, his façade finally cracks. I love this scene because it perfectly combines two of the emotions that Hoffman was so good at conveying: total vulnerability and rage. The way he turns it all back around at the end of it and composes himself instantaneously is pretty brilliant, too. [Colleen]

“Let it Rain” – Along Came Polly

I found myself laughing uncontrollably the first time I watched Philip Seymour Hoffman do his “rain dance” on the basketball court in Along Came Polly. He is “that guy,” the one who’s cocky attitude cause him to think his skills are much better than they are. Storming around the court, Hoffman screams “white chocolate” while attempting a layup and “rain drop” while shooting from the top of the key, never once does he actually make a shot. With such an exaggerated amount of confidence, seeing him fail is absolutely sidesplitting. [Dustin]

“Caden Sees Olive Die” – Synecdoche, New York

It’s not often that we come across something that is so utterly alienating that it seems impossible, and yet so encompassing of us all that we can’t help but relate. The character of Caden Cotard in Synecdoche, New York is one such phenomenon – one that no one but Philip Seymour Hoffman could have portrayed more honestly. While his entire performance in this film is heartbreaking, one of the most memorable moments has to be when he sees his daughter on her deathbed, and she forces him to admit to abandoning her for a homosexual relationship, though we know as well as Caden does that this was not true. Have we been in this situation? And yet who of us didn’t entirely suffer with him in these moments? For as much as the film is an odd, aggressively depressing fantasy, it is also a reality, full of each of our imaginations. Caden is in many ways a projection of our own existence; Hoffman instills his character with such a sympathetic affectation that no matter how pathetic his life becomes, we cannot tear our eyes away – as though we need to see how our own lives unfold in this synecdochic reality. [Pavi]

“Shut Up” – Punch Drunk Love

Mr. Hoffman did not spend a lot of time on screen in Paul Thomas Anderson’s Punch Drunk Love, but he made the most of his screen time in a scene playing a mattress storeowner who swindles people out of money. Screaming into the phone to Adam Sandler on the other line, Hoffman manages to get an impressive 11 “Shut”-ups in a very short amount of time. The scene is one of the most memorable moments of the entire film and a testament to Hoffman’s ability to always leave an impression. [Dustin]

“Charming the Deweys” – Capote

Philip Seymour Hoffman first rolled on to my radar in the role of Dusty, the storm-chasing comedic relief of the film Twister. Even in such a small and simple role he balanced goofy and sincere well enough to stand out. His ear to ear grin, infectious laugh, and commanding voice made even the silliest of scenes engaging; especially one in which he explains the “suck zone” of a tornado to an uptight city girl. But it was in the film Capote that Hoffman was really able to show off his knack for nuance. Playing the titular character, he portrayed the historical writer with absolute dedication and humanity, turning an opportunistic narcissist into an intriguing persona. It’s in this dinner scene that Hoffman shows his acting chops as he navigates Truman Capote’s ability to manipulate his way into the confidences of others in order to get at the story he wants. Hoffman plays Capote down to the details, imitating the man’s gratingly nasal voice and delicate mannerisms and he shines in this scene as he wins over the sheriff and his wife with his ability to story-tell. The entire film shows off Hoffman’s absolute mastery of his craft and his Oscar for the role was well-deserved. [Ananda]

“Pornographic Magazine order” – Magnolia

I think everyone in life has experienced the scenario of attempting to buy something that is perhaps a little embarrassing so to counteract it you get a couple of “normal” everyday items to make it seem less awkward. Philip Seymour Hoffman’s character in Magnolia goes through that very awkward situation while ordering pornographic magazines over the phone. And then he gets called out on it. Another example of his ability to appeal to everyman. [Dustin]

“Introducing Gust Avrakotos” – Charlie Wilson’s War

In one of the greatest character introductions in recent memory, CIA agent Gust Avrakatos is having an argument with his superior over not getting assigned to a position he’s spent years vying for. A lot of credit for this scene’s brilliance can go to Aaron Sorkin’s writing, but it’s Hoffman’s performance that makes the scene work like gangbusters. Hoffman is at his manic best here, shouting and chewing up every bit of scenery he can find. It’s a scene that reverberates throughout the film (which sadly never reaches that level of pure entertainment again), so it came as no surprise that Hoffman wound up with a Best Supporting Actor nomination for his work. Hoffman was masterful at playing quiet, subdued roles, but scenes like this one in Charlie Wilson’s War showed that he could easily go into gleeful overacting madness if he wanted to. [CJ]

“Epic Throat Clearing” – Along Came Polly

Equally as hilarious as the aforementioned basketball scene in Along Came Polly is the one where Hoffman spends about 30 seconds clearing his throat in an important board meeting. Because his character is merely filling in for Ben Stiller’s, he has no clue what he is supposed to talk about in this meeting. So being the aspiring actor that his character is, Hoffman decides to improvise and epically clear his throat in order to buy some time. The results are absolutely hysterical and show just how Hoffman was never afraid to take a joke as far as necessary to get maximum hilarity. [Dustin]

“Easy Eight Craps Roll” – Hard Eight

Running his mouth and sporting a wicked mullet, Hoffman appears in Hard Eight as a self-assured asshole at the craps table that the main character Sydney (Philip Baker Hall) approaches. Hoffman coaxes Sydney into putting down a bet chanting, “I don’t wait for old people,” and damn near daring him to participate. Sydney lets him ramble on for a bit before calmly throwing down a $2,000 bet on a hard eight, making everyone at the table, including Mr. Motormouth himself, temporarily speechless. Hoffman always had a particular handle on those small unlikeable roles. All part of his multi-dimensional talent. [Dustin]

P.T. Anderson (There Will be Blood, The Master), one of the most lauded directors of our generation, used to date Fiona Apple in the late ’90s. They were the perfect film/music geek power couple, and at the time were churning out some of their greatest work (Anderson with his delectable Magnolia and Apple with her brutally honest When the Pawn…). Apple, whose musical gift is as extraordinary as his directorial one (likely what drew them together), is so magnetic, dark and elusive that she made a perfect subject for Anderson to capture on camera. I’ve been a huge Fiona fan since her career began, and her  collaborations with Anderson are some of the most beautiful music videos from a time when they ruled the world (remember TRL?!)

After 13 long years of not working or being together (the couple split near the turn of the century), Anderson and Apple have reunited with a sultry, gorgeously framed music video for “Hot Knife”, the closing track of Apple’s excellent 2012 release, The Idler Wheel…. It’s a gloriously steamy reunion indeed. The track’s intricately layered vocal melodies are echoed in Anderson’s visuals, proving that the good vibrations between the duo haven’t subsided over the last decade. Check it out…

“Hot Knife” by Fiona Apple (video by P.T. Anderson)

Hope this isn’t the last time we see these to collaborate! Here are the four fantastic music videos they worked on together over a decade ago:

“Across the Universe” by Fiona Apple (video by P.T. Anderson)

“Fast as You Can” by Fiona Apple (video by P.T. Anderson)

“Limp” by Fiona Apple (video by P.T. Anderson)

“Paper Bag” by Fiona Apple (video by P.T. Anderson)

One of the most intriguing films of 2012 was without a doubt Paul Thomas Anderson’s The Master. The film contains some of the best acting performances of the year, which led Philip Seymour Hoffman, Joaquin Phoenix, and Amy Adams to all receive Oscar nominations for their respective roles. Recently, some of the official details of the DVD and Blu-ray release were disclosed.

The Master will be released on Blu-ray and DVD on February 26th, 2013.

Special Features:

• “Back Beyond” Outtakes – Additional Scenes Music by Jonny Greenwood (20 min)
• “Unguided Message” – 8 Minute Short
• Behind the Scenes Featurette
• Trailers
• Teasers
• “Let There Be Light” (1946) – John Huston’s landmark documentary about WWII veterans (58 Minutes)
• Digital Copy

The Master Official trailer:

Read Our Review of The Master

You will be hard pressed to find a film this year that is better acted or better crafted than Paul Thomas Anderson’s The Master. In Anderson’s sixth directorial film comes an epic tale of made up religion that has earmarks of a cult and it’s radical followers. Even though the film never comes out and says it directly, the film at the very least resembles that of Scientology. You end up walking away with more questions than answers as The Master was perplexing as well as absorbing, but above all, it was hypnotic.

From the very beginning we see that Freddie Quell (Joaquin Phoenix) has a drinking problem as well as a troubled sexual past that may explain his erratic behavior. To say that Freddie has a problem with drinking is putting it lightly. He is literally poisoning himself with what he drinks as often times he makes his concoctions with whatever is within reach; sometimes that means paint thinner. As his service in the Navy ends with the end of World War II, he stumbles from job to job until one night he walks aboard a large yacht.

Unbeknownst to him, the yacht belongs to a man named Lancaster Dodd (Philip Seymour Hoffman). Soon enough Freddie meets Dodd, who people call the master, and finds out that he is a self-proclaimed jack of all trades; “a writer, a doctor, a nuclear physicist and a theoretical philosopher, but above all, I am a man.” Dodd is eager to take Freddie under his wing. Freddie, a troubled soul looking for anything to cling on to, has no problems with that.

I found it especially interesting when Dodd introduces his family someone new that he first introduces Freddie before the rest of his family. In fact, the last person he acknowledges is his son, who does not believe what his father his preaching and at one point says, “Can’t you see what he is doing? He is making things up as he goes along.” The connection between the two only grows the more Freddie gets involved.

Freddie is not afraid to beat people up who question what Dodd is preaching. I think that speaks to how much he wanted to attach and be part of something. However, by the end you start to wonder if Freddie is being people up because he is afraid that the questioners are correct. Slowly, it is slightly implied that he may be casting his own doubts on Dodd, like when he is listening to him speak about how laughter is the secret on two separate occasions.

There is a scene early on when Lancaster Dodd interviews Freddie with intrusive questions about his past that is quite possibly the best scene in any film of this year. Emotions fill the screen as you see tears roll down Freddie’s eyes and the vein in his forehead as he screams in anger. It is the kind of scene that takes the air out of the room and makes your knuckles hurt from tension.

The Master had a couple of standout scenes where you get a glimpse of how Freddie sees the world. The obvious scene is when a roomful of people are cheering on Dodd dancing, Freddie sees every woman in the room naked. Another eerie but more subtle moment is when Dodd’s wife asks Freddie to look into her eyes and then change the color of them. You can notice that her eyes do in fact change.

Joaquin Phoenix puts on a performance that I do not think will be matched in his career again. From the very first teaser trailer it was pretty evident that his character is insane. My instant reaction from the little bit that I saw then was this could easily be an Oscar worthy performance by him. Now after seeing the film and his full performance, it only reaffirms my initial reaction.

Nearly matching the phenomenal performance of Phoenix was Philip Seymour Hoffman as the charismatic religious leader. He comes off as a confident speaker that can win over most doubters with his charm but you can tell that he is masking his own problems. In private there are some moments when he relies on his wife Peggy (Amy Adams) to guide him and tell him everything is going to be okay.

The Master felt almost like it was a companion piece to There Will Be Blood (which is currently one of only two perfectly rated films on Way Too Indie). The overall tone felt very much the same courtesy of Jonny Greenwood’s score in both films. But also the subject matter is similar; two powerful leaders who look to take advantage of the weak and powerless. Even though Paul Thomas Anderson replaced his go-to cinematographer Robert Elswit with Mihai Malaimare Jr. for this film, there were many epic shots including some outside tracking shots similar to ones that worked so well in There Will Be Blood.

While The Master did not quite have the instant masterpiece feeling after watching it as There Will Be Blood did, it certainly adds to the already impressive arsenal of films done by Paul Thomas Anderson. He is a modern day master (no pun intended) filmmaker that will years for now be studied and compared to. What makes this film work is that it is as ambiguous to itself just as the characters are portrayed in the film. The Master demands the viewer to read between the lines the whole time with implications but never answers questions for you. The last scene is a perfect example of this as it opens up a different theory that was mentioned earlier in the film depending how you interpret it. It is a challenging but rewarding film if you are willing to connect the dots yourself.

It seems like the word of the day was “delay.” After arriving at Toronto the line-up for picking up tickets took nearly an hour. That’s not a complaint though, anyone who has been to TIFF is fully aware that waiting in line is just part of the festival. Either way, gone were my hopes of rushing Imogene or Paradise: Love so off I went to Spring Breakers.

Unfortunately Spring Breakers ended up getting delayed by over a half hour, meaning that in order to catch my next screening I had to bail out on the film towards the end (I’m guessing there were 15-20 minutes left). I can’t give a proper review, but from what I did see it seemed like Harmony Korine hasn’t really changed for me. With his previous films like Mister Lonely and Trash Humpers, Korine was able to pull out some beautiful, amazing moments but couldn’t sustain that feeling throughout. Spring Breakers starts out strong with a montage of college kids partying which is the first of many montages peppered throughout. These were the best parts of the film, but as a collective whole the film became exhausting. I’d rather not get into too much detail since I haven’t seen the entire thing, but I do know one thing for sure. James Franco kills it in this. Believe the hype.

RATING: N/A

Spring Breakers

But of course, after Spring Breakers was the main event. I got in line for The Master and…ended up waiting some more due to an hour long delay. To add even more insult to injury, aside from a quick intro by Paul Thomas Anderson there was no sign of the cast and no Q&A. Considering the screening was charged at a premium because of a Q&A with the cast/director I’m guessing a lot of people weren’t too happy.

But on to the movie, which is sure to confuse many once it gets a wide(r) release. The film, which is simply about a mentally disturbed seaman (Joaquin Phoenix) becoming friends with the leader of a cult (Philip Seymour Hoffman) in 1950, has plenty of powerful moments. The use of 65mm film and feel of There Will Be Blood from the trailers might suggest a similarly epic story, but this is much more intimate than the insane bombast of Daniel Plainview. Phoenix wipes away his entire misstep with I’m Still Here in this, becoming so involved with his character that he’s unrecognizable at certain points. Hoffman is terrific as well, and the two of them getting Oscar nods is probably set in stone. My issue is that none of the great moments (and a shout out to the use of 65mm which was gorgeous) came together as a whole, which led to a very slow pace. I would need a rewatch to really settle in on how I feel about The Master, but my initial reaction is that it’s good. It’s just not the masterpiece that his last film was.

RATING: 7 (tentative)

The Master

COMING UP: I start to head into the Wavelengths direction with the half-silent Tabu, followed by Haneke’s Cannes winner Amour and the return of Ryuhei Kitamura with No One Lives.

Recap of some of my Tweets from today:

Follow @WayTooIndie for full coverage of the 2012 Toronto International Film Festival!

Went to pick up tickets, and now in my first of many lines for the fest. Can’t wait for SPRING BREAKERS and THE MASTER #TIFF12

— Way Too Indie (@WayTooIndie) September 7, 2012

Front of the spring breakers line is almost entirely young girls who are here for the cast. Poor souls have no clue what they’re in for.

— Way Too Indie (@WayTooIndie) September 7, 2012

From what I saw SPRING BREAKERS was a typical Korine movie for me. Hit and miss, with incredible highs and dull lows. #TIFF12

— Way Too Indie (@WayTooIndie) September 8, 2012

THE MASTER: going to take another watch before I get a better idea of what to think. Plenty of amazing stuff but it doesn’t come together

— Way Too Indie (@WayTooIndie) September 8, 2012

Today is the day Paul Thomas Anderson fans can rejoice. In the same day that we received the movie poster for Anderson’s upcoming film, The Master, we now have the full length trailer. Up until this point The Weinstein Company only toyed with us by giving us two teaser clips but they now released a full 2 minute and 37 second trailer for The Master.

From watching the trailer it appears that Joaquin Phoenix might have given his best performance to date which could earn him an Oscar nod come award season. From the trailer The Master certainly looks like Anderson could match the level of notoriety as his previous film, There Will Be Blood, did.

The Master will be released in theaters on October 12th.

Watch the official trailer for The Master:

We still do not know a whole lot about Paul Thomas Anderson’s highly anticipated film The Master. So far there has been two teaser trailers and news that Tom Cruise was unhappy about it’s portrayal of Scientology. But today one more small piece of information has been surfaced, a movie poster for The Master.

The Master Synopsis:

A 1950s-set drama centered on the relationship between a charismatic intellectual known as “the Master” whose faith-based organization begins to catch on in America, and a young drifter who becomes his right-hand man.

Movie poster for The Master:

It has been less than a month since the movie lords graced us with a first glimpse of P.T. Anderson’s newest film, The Master. But it was literally just a glimpse as it served more as a teaser clip than a full blown trailer. Today we have been blessed with the second teaser clip for The Master, which comes in at about the same runtime of a minute and a half.

Absent in the teaser was title character Philip Seymour Hoffman, who finally makes an appearance here as the charismatic leader known as “The Master” whose religion is about to take off in America. Joaquin Phoenix, a troubled ex-Navy man, becomes his right-hand man.

We will still have to wait for the full trailer to be released but this certainly wets our appetite for what will hopefully be P.T. Anderson’s next masterpiece. The Master will be released in theaters on October 12th.

Watch the second teaser clip for The Master:

It is impossible to describe There Will Be Blood in one word but if forced to, I would say powerful. If I had to further describe in using just single words they would be; politics, greed, religion and morality. It’s a true instant American classic film whose technical aspects far exceed that of most other films out there.

Nearly the first 15 minutes of the film, aside from a few cries and moans, is without dialog. All you hear is the eerie soundtrack which was done by Radiohead’s Johnny Greenwood. A soundtrack that would earn him a Grammy nomination. Greenwood creates a soundtrack that works so well with the film, it would not have been the same without it. Mixing up classical sounds and making them haunting. Something that would rival what Stanley Kubrick would have chosen.

Essentially, There Will Be Blood is about a ruthless oil man named Daniel Plainview (Daniel Day-Lewis). He learns that there is a small town which has plenty of oil resources. He convinces the town to let him set up operation there and begin drilling. He promises the town to build schools and cultivate their land to make the town boom. However, one person in particular is reluctant, the local preacher named Eli Sunday (Paul Dano).

Daniel Plainview and Eli Sunday’s relationship begins early in the film. Having being tipped off from Eli’s twin brother, Plainview arrives at the family’s ranch in search of oil. However, Plainview being the kind of man he is he tries to get a bargain for the land by claiming he wants the land for quail hunting. Thus giving the family prices for quail land and not land with oil. Eli knows that there is oil on the land, something his father doesn’t seem to know. While Plainview is trying to pull a fast one on the family’s father, Eli steps in during negotiation.

After buying the Sunday ranch Plainview soon realizes that Eli is going to be a nuisance. Eli is constantly making sure that this oil venture that has quickly taking over the entire town is in the best interest of his church. Eli approaches Plainview asking if he can bless the first drilling, which Plainview abides to without hesitation. But as the time approaches for the blessing, Plainview does not call Eli up to speak. Instead he does his own blessing but doing so in a way that makes him and his business look like they there are doing a charitable thing for this town.

Which one could argue either side for. On one hand he is providing the town new opportunities for irrigation which in return would provide food easier. He is also building a road for the town and a new school. Part of the agreement was that he would also contribute money to the church that Eli wants so desperately. On the other hand, Plainview’s drilling does bring death to one of the man, via an accident on the dangerous job. It even leads his child to lose his hearing and be permanently deaf.

Shortly after the incident is really the first time you get an intimate look into Plainview’s personality when he says, “I want no one else to succeed. I hate most people.” Also in the same conversation, “There are times when I look at people and I see nothing worth liking. I want to earn enough money that I can get away from everyone.” It is a very important scene because for the first time you see that he is self-aware that he has evil tendencies. He verbally admits of his hatred of people and that he has no room for compassion.

Plainview and his son are on a train when Plainview tells his son to stay put. He leaves the train with his son still on it. It was pre-arranged that another man takes the child. Plainview does this without any emotional tie with his boy. This becomes even more apparent in the next scene when he is in a meeting with a company looking to buy out his land. They tell him they will make him a millionaire if he chooses to sell. Plainview asks them, “What would I do then.” As if he does not know that there is anything else in life then work. They reply he could spend time when his boy, a reply that does not sit well with Plainview.

It is brought to his attention that there is one piece of land that has held out from the initial buying. This land is crucial to Plainview because it stands in the way of the pipeline he wants so that he can transport the oil. If he does not get this land, it’s a 50 mile detour that his pipeline would have to endure. That is just not feasible.

The land owner says he must wash in the blood of Jesus Christ and that’s the only way to salvation and the only way for him to get the land. Plainview tries to buy his way out offering him more and more money but the land owner wants him to be baptized. It is obvious Plainview does not care much for religion and even less for Eli Sunday, so this is no easy task for him.

The scene where Plainview attends Eli’s church is simply amazing. Eli knows exactly what Plainview is doing there and you can tell by the little smirk on his face that he is awaiting his chance for revenge and humiliation. Eli demands him to get down on his knees and scream out “I am a sinner” over and over. If that was not enough, he makes Plainview admit that he has abandoned his own child.

There Will Be Blood makes you question your own morality in the most chilling scene in the entire film towards the end when Plainview asks Eli Sunday to admit that he is a false prophet and that God is a superstition. Eli must choose between falsifying what he firmly believes in order to receive money for the church from Plainview. The film then comes full circle as Eli Sunday made a fool of Plainview earlier in the film when he makes Plainview scream “I am a sinner” many times in front of his congregation.

The irony in this is quite interesting, because Eli is in a catch-22, either way he loses, whether that will be money or faith. If he chooses not to falsify his belief then he won’t receive the money he wants to build a new church. On the contrary, saying so even though you may not mean what you say, brings self-guilt and shame. It begs the question, how much are you willing to sell your soul for? Or so to speak.

If you have seen the film, you know that ultimately it doesn’t matter what his choice is. This further perhaps expands the irony that there is no right answer. Plainview really has nothing to gain from this situation other than to get back at Eli and to humiliate him. Which for him is the only thing he cares about and nothing would bring him more satisfaction.

Paul Thomas Anderson typically uses two or more of the same actors in his films, however, There Will Be Blood is his first film that doesn’t include a member of the cast from a previous film. However, an element that is signature to PT Anderson that is present is his long takes of scenes. The film was shot beautifully which eventually earned an Oscar for Best Cinematography.

Daniel Day Lewis is fierce and relentless. Determined to be wealthy he will let nothing stop him. The first evidence of this is at the very beginning of the film where he falls down a mine shaft and breaks his leg. With determination on his side, he hauls himself back up from the mine. Once you see There Will Be Blood it should come to no surprise that Daniel Day Lewis won an Oscar for Best Leading Actor for his performance.

Paul Dano’s character Eli is marvelously haunting and extremely passionate. I got goose bumps when he preached to his congregation. He is just as determined and fierce as Plainview is but in his own way. He is not fueled by greed but instead it’s his religion which drives him.

There Will Be Blood combines superior acting, directing and storyline into a masterpiece. In my opinion a film that was robbed of it’s much deserved Academy Award for Best Picture. It should be considered an important American film that everyone should see, you would only be doing yourself a favor in doing so.