1 00:00:18,239 --> 00:00:22,200 Speaker 1: Hello, good people of hollywood Land, Happy New Year, Happy Friday. 2 00:00:22,640 --> 00:00:25,880 Speaker 1: Welcome to the inaugural episode of a new weekly installment 3 00:00:25,960 --> 00:00:28,760 Speaker 1: in your feed that we are calling the Screening Room. 4 00:00:29,200 --> 00:00:31,120 Speaker 1: I'm Zeth Lundy. You know me as the author of 5 00:00:31,120 --> 00:00:33,479 Speaker 1: a lot of these scripted episodes of hollywood Land and 6 00:00:33,680 --> 00:00:36,839 Speaker 1: also as the host of the Rap Party. But recently, 7 00:00:37,040 --> 00:00:40,159 Speaker 1: Jake Brennan and I that's Jake Brennan from Disgraceland, our 8 00:00:40,200 --> 00:00:43,120 Speaker 1: sister show. Recently the two of us created some bonus 9 00:00:43,360 --> 00:00:47,440 Speaker 1: episodes for the hollywood Land Feed around Christmas and New 10 00:00:47,520 --> 00:00:50,440 Speaker 1: Year's movies. I'm sure you heard these, and it got 11 00:00:50,479 --> 00:00:52,320 Speaker 1: me thinking. You know, I love to do this. I 12 00:00:52,360 --> 00:00:54,200 Speaker 1: love to talk about movies. I love to talk in 13 00:00:54,280 --> 00:00:56,800 Speaker 1: depth about movies. But I really only get to scratch 14 00:00:56,840 --> 00:00:59,639 Speaker 1: the surface of that with the shows that we have, 15 00:00:59,680 --> 00:01:03,120 Speaker 1: the episodes of Hollywoodland that we are currently offering. So 16 00:01:03,240 --> 00:01:05,920 Speaker 1: I thought, what if we created a third episode of 17 00:01:05,920 --> 00:01:09,160 Speaker 1: this show every week, and in that episode I can 18 00:01:09,200 --> 00:01:11,959 Speaker 1: do a deep dive on a film that is linked 19 00:01:12,040 --> 00:01:14,959 Speaker 1: somehow to that week's content, you know, the subject of 20 00:01:14,959 --> 00:01:18,200 Speaker 1: that week's fully scripted sound design episode, or maybe the 21 00:01:18,200 --> 00:01:20,640 Speaker 1: themes that are in that episode, and kind of create 22 00:01:20,680 --> 00:01:23,560 Speaker 1: this more well rounded picture that gets to check all 23 00:01:23,600 --> 00:01:26,720 Speaker 1: the boxes, so that every week you're getting, first of all, 24 00:01:26,760 --> 00:01:30,319 Speaker 1: a dramatic narrative, then you're getting engagement between me and 25 00:01:30,360 --> 00:01:32,440 Speaker 1: all of you, and then finally you're getting a more 26 00:01:32,560 --> 00:01:34,360 Speaker 1: I don't know. I don't want to say scholarly because 27 00:01:34,400 --> 00:01:37,680 Speaker 1: I don't want this to scare anybody off. But yeah, 28 00:01:37,680 --> 00:01:39,400 Speaker 1: this new installment will be a chance for me to 29 00:01:39,480 --> 00:01:42,760 Speaker 1: let my inner film geek run wild. And also this 30 00:01:42,840 --> 00:01:44,480 Speaker 1: is going to be a no holes barred kind of 31 00:01:44,520 --> 00:01:48,120 Speaker 1: situation too, so I will be talking about the films 32 00:01:48,560 --> 00:01:50,720 Speaker 1: at length, which means I will be spoiling them. But 33 00:01:50,720 --> 00:01:52,920 Speaker 1: these aren't like brand new movies. They've been out there 34 00:01:53,160 --> 00:01:55,320 Speaker 1: in the wild for a bit, so hopefully that's not 35 00:01:55,360 --> 00:01:57,840 Speaker 1: a deal breaker. And you know, I can give you 36 00:01:57,880 --> 00:02:00,520 Speaker 1: a heads up week to week on what I'll be 37 00:02:00,560 --> 00:02:02,760 Speaker 1: covering in case you want to watch or rewatch that 38 00:02:02,840 --> 00:02:05,360 Speaker 1: week's movie as well, and then we can, you know, 39 00:02:05,440 --> 00:02:07,000 Speaker 1: we can talk about it. You can text me, you 40 00:02:07,040 --> 00:02:09,560 Speaker 1: can call me at six one seven nine oh six 41 00:02:10,000 --> 00:02:12,920 Speaker 1: six six three eight and give me your thoughts. So 42 00:02:13,000 --> 00:02:15,320 Speaker 1: here's what it's going to look like. Okay, On Mondays, 43 00:02:15,360 --> 00:02:19,560 Speaker 1: the full scripted episode from our archive drops on Wednesdays, 44 00:02:19,560 --> 00:02:21,240 Speaker 1: you'll get the Wrap Party, as you've been getting it 45 00:02:21,240 --> 00:02:23,760 Speaker 1: for quite some time now, and then on Fridays you'll 46 00:02:23,760 --> 00:02:27,040 Speaker 1: get this new weekly installment called The Screening Room. And 47 00:02:27,120 --> 00:02:30,480 Speaker 1: in addition to all these things being thematically linked, I'm 48 00:02:30,520 --> 00:02:32,919 Speaker 1: programming it so that months to month there are bigger 49 00:02:32,960 --> 00:02:35,480 Speaker 1: thematic umbrellas. I'm thinking about this in like a Criterion 50 00:02:35,560 --> 00:02:38,080 Speaker 1: Channel kind of way, where the feed is curated in 51 00:02:38,120 --> 00:02:41,760 Speaker 1: the thoughtful manner. So this month January, we're calling this 52 00:02:41,760 --> 00:02:45,040 Speaker 1: collection of episodes La Nightmares, and the subjects we're going 53 00:02:45,080 --> 00:02:48,520 Speaker 1: to cover during this month are as follows, River Phoenix, 54 00:02:49,240 --> 00:02:53,840 Speaker 1: Elizabeth Short aka the Black Dahlia, Robert Blake, and then 55 00:02:53,880 --> 00:02:57,440 Speaker 1: Heath Ledger. Now you could lump this week's subject in 56 00:02:57,520 --> 00:03:00,560 Speaker 1: with those. I believe. We ran our episode on Britney 57 00:03:00,600 --> 00:03:03,800 Speaker 1: Murphy at the top of this week. Britney Murphy tragically 58 00:03:04,280 --> 00:03:06,240 Speaker 1: died in two thousand and nine at the age of 59 00:03:06,280 --> 00:03:09,600 Speaker 1: thirty two. The coroner's report said it was accidental that 60 00:03:09,680 --> 00:03:11,920 Speaker 1: it was related to pneumonia, and then, oddly enough, just 61 00:03:11,960 --> 00:03:15,120 Speaker 1: months later, Britney's husband died in the same house and 62 00:03:15,160 --> 00:03:18,040 Speaker 1: that same cause pneumonia was once again brought up, but 63 00:03:18,160 --> 00:03:20,160 Speaker 1: her father, you know, a few years later, he claimed 64 00:03:20,200 --> 00:03:24,080 Speaker 1: that the toxicology report showed poisoning by heavy metals and 65 00:03:24,120 --> 00:03:26,760 Speaker 1: he wanted to find out if this is what really 66 00:03:26,800 --> 00:03:29,840 Speaker 1: killed Britney. And I think it should be said here 67 00:03:30,120 --> 00:03:34,360 Speaker 1: that her mother actually spoke out against the father's claims here, 68 00:03:34,840 --> 00:03:38,800 Speaker 1: said that what he was doing was inexcusable, an insult 69 00:03:38,920 --> 00:03:42,480 Speaker 1: and a smear to their daughter's memory. Well, okay, so 70 00:03:42,520 --> 00:03:44,560 Speaker 1: when I was thinking about a movie to cover this 71 00:03:44,640 --> 00:03:47,840 Speaker 1: week here in the screening room, there wasn't a particular 72 00:03:47,960 --> 00:03:51,120 Speaker 1: film from Britney Murphy's filmography that I wanted to get into. 73 00:03:51,320 --> 00:03:52,840 Speaker 1: You know, I want to stay as close as we 74 00:03:52,880 --> 00:03:54,840 Speaker 1: can to the spirit of the show, you know, with 75 00:03:54,880 --> 00:03:56,680 Speaker 1: these picks, I want them to be about the intersection 76 00:03:56,800 --> 00:04:00,400 Speaker 1: of again movies and crime movies and transgression. I thought 77 00:04:00,400 --> 00:04:02,960 Speaker 1: for a minute about Girl Interrupted, but that's not really 78 00:04:03,000 --> 00:04:06,280 Speaker 1: her movie, and so my mind went to poison. Film 79 00:04:06,320 --> 00:04:09,920 Speaker 1: is about poison, about people being poisoned. Immediately I thought 80 00:04:09,920 --> 00:04:13,400 Speaker 1: of this film calledda which is a movie from nineteen 81 00:04:13,480 --> 00:04:17,680 Speaker 1: fifty Starry Emmin O'Brien. It's a classic film noir about 82 00:04:17,680 --> 00:04:19,680 Speaker 1: a man who's been poisoned and he's trying to find 83 00:04:19,720 --> 00:04:21,520 Speaker 1: out who did it, like what happened, and he has 84 00:04:21,560 --> 00:04:23,840 Speaker 1: a finite amount of time in which to do so. 85 00:04:24,240 --> 00:04:26,839 Speaker 1: The movie was remade in nineteen eighty eight with Dennis 86 00:04:26,880 --> 00:04:29,360 Speaker 1: Quaid and Meg Ryan, So I thought about that for 87 00:04:29,400 --> 00:04:31,520 Speaker 1: a minute, maybe doing one of those two versions of 88 00:04:31,520 --> 00:04:34,240 Speaker 1: that film. I also thought about Casino Royale, which was 89 00:04:34,320 --> 00:04:37,640 Speaker 1: Daniel Craig's first outing as James Bond, and that features 90 00:04:37,880 --> 00:04:41,000 Speaker 1: a lengthy sequence in which he's poisoned and he has 91 00:04:41,040 --> 00:04:45,240 Speaker 1: to reverse the effects of the poison. But then I 92 00:04:45,320 --> 00:04:47,480 Speaker 1: thought about the movie that I'm going to talk about, 93 00:04:48,279 --> 00:04:51,120 Speaker 1: and this is even more perfect because not only does 94 00:04:51,160 --> 00:04:53,359 Speaker 1: the poisoning of a character become a major part of 95 00:04:53,400 --> 00:04:56,279 Speaker 1: this film, in many ways, it drives the second half 96 00:04:56,279 --> 00:04:59,279 Speaker 1: of the film, but this is also set largely during 97 00:04:59,279 --> 00:05:02,960 Speaker 1: the holidays, Christmas time, and a particularly memorable scene that 98 00:05:03,000 --> 00:05:05,480 Speaker 1: takes place on New Year's Eve, And so for all 99 00:05:05,520 --> 00:05:08,400 Speaker 1: of these reasons, this felt right. Of course, I'm talking 100 00:05:08,480 --> 00:05:12,839 Speaker 1: about the film Phantom Thread, which was released in twenty seventeen. 101 00:05:13,000 --> 00:05:16,680 Speaker 1: It's directed by Paul Thomas Anderson. It's his eighth feature film. 102 00:05:17,000 --> 00:05:20,680 Speaker 1: It stars Daniel da Lewis, Vicki Creeps, and Leslie Manville. 103 00:05:21,040 --> 00:05:25,400 Speaker 1: It's PTA's second collaboration with DDL. Coming after, There will 104 00:05:25,440 --> 00:05:29,440 Speaker 1: be Blood. This is a film about rituals, about routines. 105 00:05:30,000 --> 00:05:34,560 Speaker 1: It's about warm interiors and cold exteriors. It's about old 106 00:05:34,640 --> 00:05:38,120 Speaker 1: so and sos, and about hidden messages sewn into garments. 107 00:05:38,640 --> 00:05:46,040 Speaker 1: It's about muses, lovers, ghosts, cooking, eating, smell, touch, taste, sound, 108 00:05:46,520 --> 00:05:50,680 Speaker 1: about being wanted, being needed, being left alone. And it's 109 00:05:50,760 --> 00:05:55,160 Speaker 1: also about poison. So let's get into this right after 110 00:05:55,200 --> 00:06:21,760 Speaker 1: this break paying tag. Phantom A Thread is set in 111 00:06:21,800 --> 00:06:25,520 Speaker 1: the nineteen fifties in London in the world of Reynolds Woodcock, 112 00:06:25,680 --> 00:06:28,800 Speaker 1: known as mister Woodcock to his employees, played by Daniel 113 00:06:28,880 --> 00:06:32,760 Speaker 1: Day Lewis, who is a hoe couture fashion designer. He 114 00:06:32,839 --> 00:06:37,080 Speaker 1: makes these exquisite bespoke dresses and gowns and the like 115 00:06:37,160 --> 00:06:40,200 Speaker 1: for high society. One of the first things you were shown, 116 00:06:40,279 --> 00:06:43,279 Speaker 1: I think the introduction to his character is through Reynolds 117 00:06:43,320 --> 00:06:46,200 Speaker 1: getting ready for his day. He's lathering up his face 118 00:06:46,200 --> 00:06:49,320 Speaker 1: for a shave, he's cleaning his shoes, he's clipping his 119 00:06:49,360 --> 00:06:52,120 Speaker 1: nose hairs, he's putting on his socks and getting dressed. 120 00:06:52,680 --> 00:06:55,360 Speaker 1: The ritual of this moment, which we can tell right away, 121 00:06:55,440 --> 00:06:59,479 Speaker 1: is a daily ritual, the ritual of putting together one's appearance. 122 00:06:59,600 --> 00:07:01,800 Speaker 1: The hair in the right place, the vest in the 123 00:07:01,880 --> 00:07:06,200 Speaker 1: right place, all of it perfect. Reynolds's life is perfectly 124 00:07:06,320 --> 00:07:08,880 Speaker 1: organized in this way. It's predictable. It's the right color, 125 00:07:08,880 --> 00:07:11,520 Speaker 1: the right size, the right taste. And you can see 126 00:07:11,520 --> 00:07:14,520 Speaker 1: this throughout the entire operation there at his fashion house, 127 00:07:14,520 --> 00:07:16,400 Speaker 1: the workers coming in, the lights being turned on, the 128 00:07:16,400 --> 00:07:19,720 Speaker 1: women in the sewing room donning their white coats, having 129 00:07:19,720 --> 00:07:23,120 Speaker 1: their own ritual, just like Reynolds Woodcock does. Reynolds is 130 00:07:23,120 --> 00:07:24,840 Speaker 1: the kind of person who is always working. As we 131 00:07:24,880 --> 00:07:27,480 Speaker 1: come to see, he doesn't seem to have the capacity 132 00:07:27,560 --> 00:07:30,360 Speaker 1: for leisure, to slow down to enjoy a hobby. His 133 00:07:30,440 --> 00:07:32,640 Speaker 1: work is his hobby. I suppose he lives to work. 134 00:07:33,080 --> 00:07:34,960 Speaker 1: I guess the only time he's not working is when 135 00:07:35,000 --> 00:07:39,000 Speaker 1: he's eating. We'll get to that shortly. Dude loves to eat, 136 00:07:39,480 --> 00:07:42,400 Speaker 1: so in order to help him achieve this non stop 137 00:07:42,560 --> 00:07:46,360 Speaker 1: workflow state, he employs his sister Cyril, who is played 138 00:07:46,400 --> 00:07:49,880 Speaker 1: by Leslie Manville, to basically run interference on any and 139 00:07:49,920 --> 00:07:52,320 Speaker 1: everything that could distract him and by that, I largely 140 00:07:52,360 --> 00:07:55,680 Speaker 1: mean other people. There's a great scene early on when 141 00:07:56,040 --> 00:07:58,200 Speaker 1: the two of them are sitting at a table. Reynolds 142 00:07:58,240 --> 00:08:00,720 Speaker 1: is having his tea and sketching in his sketch book 143 00:08:01,760 --> 00:08:04,840 Speaker 1: some new dress or design or whatever, and there's this 144 00:08:05,000 --> 00:08:07,720 Speaker 1: other woman there, this third person. She's an employee, but 145 00:08:07,760 --> 00:08:10,200 Speaker 1: perhaps she's also a muse of his or a lover. 146 00:08:10,760 --> 00:08:13,880 Speaker 1: You know, it's funny. He essentially describes himself as someone 147 00:08:13,920 --> 00:08:16,800 Speaker 1: who's not cut out for serious relationship or a marriage, 148 00:08:16,840 --> 00:08:21,559 Speaker 1: but obviously he covets these muses until their usefulness runs out. 149 00:08:21,840 --> 00:08:25,000 Speaker 1: And this woman is asking him, where have you gone? Reynolds? 150 00:08:24,760 --> 00:08:27,360 Speaker 1: There's nothing I can say to get your attention aimed 151 00:08:27,400 --> 00:08:30,240 Speaker 1: back at me? Is there? And he sort of half 152 00:08:30,240 --> 00:08:32,520 Speaker 1: looks up from his drawing with his eyes going over 153 00:08:32,559 --> 00:08:36,120 Speaker 1: the top of his glasses, and he says, I cannot 154 00:08:36,160 --> 00:08:39,360 Speaker 1: begin my day with a confrontation, please, I simply don't 155 00:08:39,360 --> 00:08:43,080 Speaker 1: have time for confrontations. And then we get the shot 156 00:08:43,600 --> 00:08:45,959 Speaker 1: of Cyril looking directly at the camera, looking directly at 157 00:08:45,960 --> 00:08:48,760 Speaker 1: this woman, and you know, based on the look on 158 00:08:48,800 --> 00:08:50,520 Speaker 1: her face, that that's the last time you're going to 159 00:08:50,559 --> 00:08:53,280 Speaker 1: see this woman like not that Cyril's like a cold 160 00:08:53,280 --> 00:08:55,400 Speaker 1: blood at assassin. She's going to take her out back 161 00:08:55,440 --> 00:08:57,640 Speaker 1: and shoot her. But she's cold blooded, and she's going 162 00:08:57,720 --> 00:08:59,719 Speaker 1: to take care of the situation and remove what is 163 00:08:59,760 --> 00:09:05,200 Speaker 1: because a confrontation, a distraction in Reynolds's life. Now, Reynolds 164 00:09:05,280 --> 00:09:07,360 Speaker 1: and Cyril have this family house in the country, which 165 00:09:07,360 --> 00:09:09,880 Speaker 1: is very meaningful to them. Their mother is dead, and 166 00:09:09,920 --> 00:09:14,280 Speaker 1: her memory seems to consume Reynold's life. She's definitely this 167 00:09:15,400 --> 00:09:19,200 Speaker 1: overwhelming presence, and later on she even handsome to a degree. 168 00:09:19,200 --> 00:09:21,600 Speaker 1: But I'm getting ahead of myself. Perhaps because of this, 169 00:09:21,640 --> 00:09:23,480 Speaker 1: we come to find out that he sows hidden things 170 00:09:23,520 --> 00:09:26,080 Speaker 1: into the clothes he makes. It's a combination of superstition 171 00:09:26,160 --> 00:09:29,400 Speaker 1: and remembrance. I suppose, for instance, we find out that 172 00:09:29,440 --> 00:09:32,160 Speaker 1: he has sown a lock of his mother's hair. I 173 00:09:32,160 --> 00:09:34,280 Speaker 1: think it's in his jacket near his heart, so that 174 00:09:34,320 --> 00:09:36,720 Speaker 1: she's like always close to him, which I don't know. 175 00:09:36,840 --> 00:09:39,960 Speaker 1: I think this is borderline red flag material here. You know, 176 00:09:40,640 --> 00:09:44,160 Speaker 1: admittedly I wear some of my mother's old bracelets, these 177 00:09:45,480 --> 00:09:49,960 Speaker 1: old silver sterling silver bracelets that she wore her entire life. 178 00:09:50,200 --> 00:09:51,960 Speaker 1: But I feel like sowing a lock of her hair 179 00:09:52,000 --> 00:09:54,560 Speaker 1: into my jacket veers a little too close into some 180 00:09:54,600 --> 00:09:59,040 Speaker 1: weird edipal territory, and safe to say, I'm not going 181 00:09:59,120 --> 00:10:03,520 Speaker 1: to be that anytime soon. Interestingly, however, the first thing 182 00:10:03,520 --> 00:10:06,080 Speaker 1: we see in this film isn't Reynolds. It's the face 183 00:10:06,120 --> 00:10:08,240 Speaker 1: of a character we don't even know yet. She's sitting 184 00:10:08,240 --> 00:10:10,880 Speaker 1: by a fireplace. She's speaking to a man we can't see, 185 00:10:10,920 --> 00:10:13,800 Speaker 1: who's off camera, and she's saying, Reynolds has made my 186 00:10:13,880 --> 00:10:16,600 Speaker 1: dreams come true, and I have given him what he 187 00:10:16,679 --> 00:10:20,000 Speaker 1: most desires in return. The man asks what this is, 188 00:10:20,040 --> 00:10:24,320 Speaker 1: and she says every piece of me, which is intriguing 189 00:10:25,080 --> 00:10:27,560 Speaker 1: and also somewhat of a red herring emotionally, because it 190 00:10:27,600 --> 00:10:30,960 Speaker 1: feels like it's setting this up as a romance film, 191 00:10:31,280 --> 00:10:33,640 Speaker 1: which I'll talk about a little bit later, but that's 192 00:10:33,679 --> 00:10:35,480 Speaker 1: exactly what I thought this movie was going to be 193 00:10:36,040 --> 00:10:38,720 Speaker 1: when I first saw this, when in fact, it's much 194 00:10:38,760 --> 00:10:42,120 Speaker 1: more of a fucked up hitchcocky and study of needs 195 00:10:42,120 --> 00:10:45,320 Speaker 1: and wants and desires. But anyway, we soon meet this 196 00:10:45,360 --> 00:10:48,320 Speaker 1: woman for real Almah. She's a much younger woman than Reynolds. 197 00:10:48,400 --> 00:10:51,280 Speaker 1: She works as a waitress at a restaurant that Reynolds 198 00:10:51,280 --> 00:10:53,679 Speaker 1: goes to near his country house when he orders this 199 00:10:53,800 --> 00:10:56,480 Speaker 1: huge amount of food. When we first see her, she's 200 00:10:56,520 --> 00:10:59,480 Speaker 1: basically crashing out of the kitchen. She's like clumsily going 201 00:10:59,480 --> 00:11:02,520 Speaker 1: about everyone where. She's an obvious contrast to the very 202 00:11:02,520 --> 00:11:05,599 Speaker 1: put together life of Reynolds Woodcock. But he is immediately 203 00:11:05,640 --> 00:11:08,200 Speaker 1: smitten with her, and he invites her out to dinner, 204 00:11:08,440 --> 00:11:11,240 Speaker 1: after which he takes her back to his country house. 205 00:11:11,679 --> 00:11:15,520 Speaker 1: But they do not do what you think they're gonna do. 206 00:11:15,600 --> 00:11:18,520 Speaker 1: They don't tear each other's clothes off all alone back 207 00:11:18,559 --> 00:11:22,000 Speaker 1: of this country house. Because this dude, Reynolds Woodcock, he's 208 00:11:22,080 --> 00:11:24,880 Speaker 1: like Prince. He's like when Prince would pick up a 209 00:11:24,920 --> 00:11:27,440 Speaker 1: girl from the club in Minneapolis and bring her back 210 00:11:27,480 --> 00:11:30,160 Speaker 1: to Paisley Park, only to leave her in the kitchen 211 00:11:30,520 --> 00:11:35,160 Speaker 1: while he went downstairs or wherever his studio was there 212 00:11:35,200 --> 00:11:37,959 Speaker 1: and records three new songs while she's just all by 213 00:11:37,960 --> 00:11:41,080 Speaker 1: her lonesome upstairs. And that's more or less what Reynolds 214 00:11:41,080 --> 00:11:43,720 Speaker 1: does here. But he involves Alma in it. You know. 215 00:11:43,760 --> 00:11:47,360 Speaker 1: He is smitten, yes, but he's smitten with her as amused, 216 00:11:47,400 --> 00:11:49,679 Speaker 1: not as a lover. So he has her stripped down 217 00:11:49,720 --> 00:11:51,959 Speaker 1: to her slip so that he can basically use her 218 00:11:51,960 --> 00:11:54,480 Speaker 1: body to work on this new outfit he's working on. 219 00:11:54,559 --> 00:11:56,720 Speaker 1: He begins dressing her with it, and he's very blunt 220 00:11:56,760 --> 00:11:59,640 Speaker 1: about her appearance. He tells her that she has no breasts, 221 00:11:59,760 --> 00:12:03,720 Speaker 1: and she obviously takes offense to this. She's like, I'm sorry. 222 00:12:03,840 --> 00:12:07,120 Speaker 1: And then Cyril shows up, gets way too close to Almah, 223 00:12:07,160 --> 00:12:10,640 Speaker 1: starts to smell her, listing off all these things that 224 00:12:10,679 --> 00:12:15,080 Speaker 1: she can smell on her and making Alma clearly uncomfortable here. 225 00:12:15,800 --> 00:12:18,680 Speaker 1: And then she clarifies to Alma that all these these 226 00:12:18,800 --> 00:12:21,839 Speaker 1: things that Reynolds is saying to her that she Almah 227 00:12:21,920 --> 00:12:25,360 Speaker 1: actually has Reynolds's ideal shape, and so he's saying these 228 00:12:25,400 --> 00:12:28,880 Speaker 1: things not as a criticism, but he's sort of, I guess, 229 00:12:29,120 --> 00:12:31,600 Speaker 1: trying to lift her up by saying these things. So Alma, 230 00:12:32,320 --> 00:12:34,520 Speaker 1: you know, Vicky creeps the actress here, She's going back 231 00:12:34,559 --> 00:12:38,079 Speaker 1: and forth between being offended, schemed out, and then also 232 00:12:38,200 --> 00:12:42,000 Speaker 1: loving the attention. And she soon declares in the narration 233 00:12:42,120 --> 00:12:45,559 Speaker 1: that she gives occasionally in this film that's coming from 234 00:12:45,559 --> 00:12:47,480 Speaker 1: the scene I mentioned earlier in front of the fireplace, 235 00:12:47,600 --> 00:12:52,520 Speaker 1: she says, in his work, I became perfect. Now, as 236 00:12:52,679 --> 00:12:55,319 Speaker 1: Alma is clearly falling in love with Reynolds, or falling 237 00:12:55,360 --> 00:12:57,280 Speaker 1: in love with the way he makes her look and feel. 238 00:12:57,400 --> 00:13:00,240 Speaker 1: Perhaps it's almost like the Cinderella thing, where she's gone 239 00:13:00,520 --> 00:13:03,480 Speaker 1: from this waitress at a small cafe to living in 240 00:13:03,520 --> 00:13:06,480 Speaker 1: this fancy London house. But also clearly Reynolds does not 241 00:13:06,520 --> 00:13:08,560 Speaker 1: feel the same because it's all work to him. I mean, 242 00:13:08,880 --> 00:13:11,520 Speaker 1: she scrapes her butter on toast, or she pours her 243 00:13:11,559 --> 00:13:13,960 Speaker 1: tea and it's like fingernails down a chalkboard for him. 244 00:13:14,080 --> 00:13:16,640 Speaker 1: He tells her that it's distracting. She brings some tea 245 00:13:16,679 --> 00:13:18,760 Speaker 1: once you think he will be a nice surprise, but 246 00:13:18,800 --> 00:13:21,120 Speaker 1: since he did not ask for tea, the whole thing 247 00:13:21,640 --> 00:13:24,640 Speaker 1: is interpreted by him as simply an interruption. He says 248 00:13:24,679 --> 00:13:27,440 Speaker 1: as she leaves, the tea is going out, but the 249 00:13:27,480 --> 00:13:30,440 Speaker 1: interruption is staying right here with me. The guy is 250 00:13:30,600 --> 00:13:34,520 Speaker 1: just like a dick in the biggest way. He's grumpy, 251 00:13:34,800 --> 00:13:38,360 Speaker 1: he's laser focused, he wants everything's everything on his terms. 252 00:13:39,160 --> 00:13:43,280 Speaker 1: But now everything changes when Alma decides to prepare a 253 00:13:43,320 --> 00:13:45,600 Speaker 1: dinner for Reynolds. This is about halfway through the movie. 254 00:13:45,640 --> 00:13:47,920 Speaker 1: I believe she has all the staff leave the house, 255 00:13:48,040 --> 00:13:50,120 Speaker 1: and even against the wishes of Cyril, who says that 256 00:13:50,200 --> 00:13:53,559 Speaker 1: he doesn't like surprises. Almah does it anyway. She's I 257 00:13:53,600 --> 00:13:56,360 Speaker 1: think she's thinking, well, it's gonna be this nice, romantic thing. 258 00:13:56,400 --> 00:13:58,280 Speaker 1: It'll take my surprise in a good way and he'll 259 00:13:58,320 --> 00:14:01,160 Speaker 1: see what she sees in him or whatever. But it 260 00:14:01,200 --> 00:14:03,400 Speaker 1: goes horribly wrong. I mean, you can see it's an 261 00:14:03,440 --> 00:14:06,480 Speaker 1: inevitable where it's inevitable where this is going, that he's 262 00:14:06,520 --> 00:14:08,560 Speaker 1: going to be upset by this, and he goes full grouch. 263 00:14:09,240 --> 00:14:12,960 Speaker 1: He is eating this asparagus that she's made with butter, 264 00:14:13,120 --> 00:14:15,040 Speaker 1: not with oil and salt the way that he likes it, 265 00:14:15,080 --> 00:14:17,480 Speaker 1: and as he's eating it, he says, in this super 266 00:14:17,480 --> 00:14:20,840 Speaker 1: bitchy way, I'm admiring my own gallantry for eating it 267 00:14:20,880 --> 00:14:24,120 Speaker 1: the way you've prepared it. Isn't that awful? And then 268 00:14:24,120 --> 00:14:25,800 Speaker 1: he calls the whole thing in ambush, as if she 269 00:14:25,920 --> 00:14:27,920 Speaker 1: was some secret agent with a gun there to kill him. 270 00:14:27,960 --> 00:14:32,120 Speaker 1: He completely overreacts. Now this is an incredible scene for 271 00:14:32,120 --> 00:14:34,000 Speaker 1: a number of reasons. It's the first time we really 272 00:14:34,040 --> 00:14:39,120 Speaker 1: see the characters of Reynolds and Almah really go at 273 00:14:39,160 --> 00:14:42,960 Speaker 1: each other to raise their voices. The temper comes out 274 00:14:43,000 --> 00:14:45,680 Speaker 1: a bit, and it's also the moment that the film 275 00:14:46,000 --> 00:14:48,960 Speaker 1: hinges entirely on. There's just before this moment in the movie, 276 00:14:49,000 --> 00:14:51,720 Speaker 1: and then there's after, because at this moment, when Alla 277 00:14:51,840 --> 00:14:53,840 Speaker 1: realizes she's not going to be able to, as she 278 00:14:53,920 --> 00:14:56,680 Speaker 1: puts it, love him the way I want to, she 279 00:14:56,840 --> 00:14:59,160 Speaker 1: opts for a different strategy, and that strategy is to 280 00:14:59,160 --> 00:15:02,760 Speaker 1: go out forging poisonous mushrooms in the woods nearby, which 281 00:15:02,760 --> 00:15:05,920 Speaker 1: she grinds up and puts into Reynold's tea, and this 282 00:15:06,040 --> 00:15:10,600 Speaker 1: makes Reynolds violently ill. He collapses as he's studying the 283 00:15:10,640 --> 00:15:12,720 Speaker 1: latest wedding dress they've been working on for a client. 284 00:15:13,040 --> 00:15:16,360 Speaker 1: He also sees his dead mother wearing the wedding dress 285 00:15:16,400 --> 00:15:18,840 Speaker 1: he made for her for her second wedding. While he's 286 00:15:18,880 --> 00:15:22,480 Speaker 1: sort of in this feverish state, she's standing against the 287 00:15:22,520 --> 00:15:24,840 Speaker 1: wall of his bedroom, not moving or speaking, and he's 288 00:15:24,880 --> 00:15:27,680 Speaker 1: trying to reach her and he can't get through or 289 00:15:27,720 --> 00:15:30,600 Speaker 1: she just won't respond. And while this is happening, Alma's 290 00:15:30,600 --> 00:15:33,120 Speaker 1: the one who nurses him back to health. She literally 291 00:15:33,360 --> 00:15:36,320 Speaker 1: edges Cyril out, you know, kicks her out of the bedroom, 292 00:15:36,560 --> 00:15:39,600 Speaker 1: and at some point Cyril brings a doctor in against 293 00:15:39,640 --> 00:15:42,240 Speaker 1: Almah's wishes, because Almah knows what's going on, and knows 294 00:15:42,240 --> 00:15:43,520 Speaker 1: that it's going to pass and she's gonna be the 295 00:15:43,560 --> 00:15:46,480 Speaker 1: one there to help him. But Almah brings this doctor in, 296 00:15:46,560 --> 00:15:49,200 Speaker 1: and it's almost like Reynolds starts to side with Almah 297 00:15:49,240 --> 00:15:52,120 Speaker 1: because he tells the doctor to fuck off, and it 298 00:15:52,200 --> 00:15:55,320 Speaker 1: almost like seems like it's this moment is bringing them closer, 299 00:15:56,160 --> 00:15:58,680 Speaker 1: and then when he recovers, it's almost like he's a 300 00:15:58,680 --> 00:16:00,720 Speaker 1: different person. He tells Almah that he never wants to 301 00:16:00,760 --> 00:16:03,800 Speaker 1: be without her. He says this great line, A house 302 00:16:03,840 --> 00:16:06,600 Speaker 1: that doesn't change is a dead house, and he asks 303 00:16:06,640 --> 00:16:09,720 Speaker 1: her to marry him, and they do a honeymoon in Switzerland, 304 00:16:09,800 --> 00:16:12,680 Speaker 1: but soon enough and sure enough, things kind of go 305 00:16:12,720 --> 00:16:15,320 Speaker 1: back to the way they were, and she wants to 306 00:16:15,320 --> 00:16:18,040 Speaker 1: go out dancing on New Year's Eve, for instance, but 307 00:16:18,080 --> 00:16:19,640 Speaker 1: he doesn't want to go. He just wants to stay 308 00:16:19,640 --> 00:16:22,680 Speaker 1: at home, which leads to him going out to find her, 309 00:16:23,400 --> 00:16:26,400 Speaker 1: and you think he's going there to maybe he's had 310 00:16:26,440 --> 00:16:27,720 Speaker 1: a change of heart and he's going to go there 311 00:16:27,760 --> 00:16:29,520 Speaker 1: and join her and have a good time. No, he's 312 00:16:29,560 --> 00:16:32,440 Speaker 1: gone there basically to take her hand and bring her 313 00:16:32,480 --> 00:16:35,720 Speaker 1: back home where he wants her. And then later on 314 00:16:35,840 --> 00:16:38,560 Speaker 1: Alma walks in when Reynolds is telling Cyril that he's 315 00:16:38,600 --> 00:16:42,280 Speaker 1: made this huge mistake, that Alma is this disruptive presence, 316 00:16:42,320 --> 00:16:44,880 Speaker 1: that he should never have married her. And remember, this 317 00:16:44,960 --> 00:16:47,840 Speaker 1: is the guy who wants no interruptions or confrontations, and 318 00:16:47,880 --> 00:16:50,280 Speaker 1: it seems that's all he's getting here now. So again, 319 00:16:50,840 --> 00:16:54,160 Speaker 1: instead of screaming at Reynolds's and telling him how she 320 00:16:54,200 --> 00:16:57,360 Speaker 1: really feels, Alma goes out gets more poisonous mushrooms again, 321 00:16:57,400 --> 00:17:01,080 Speaker 1: only this time she cooks these mushrooms and omelet while 322 00:17:01,080 --> 00:17:04,080 Speaker 1: Reynolds is watching her, and she knows he's watching, and 323 00:17:04,119 --> 00:17:08,040 Speaker 1: she sautees the mushrooms in butter, not in oil and salt, 324 00:17:08,359 --> 00:17:11,159 Speaker 1: more butter and more butter. And then as she feeds 325 00:17:11,200 --> 00:17:13,800 Speaker 1: him the omelet, and he sits there across from her, 326 00:17:13,840 --> 00:17:16,560 Speaker 1: and he takes the first bite, you're wondering, like, wait, 327 00:17:16,680 --> 00:17:19,800 Speaker 1: does he know? Does he know what she's doing and 328 00:17:19,560 --> 00:17:22,960 Speaker 1: what he's eating? And they hold this gaze, this like 329 00:17:23,040 --> 00:17:25,600 Speaker 1: staring contest for a moment, which is funny because I 330 00:17:25,640 --> 00:17:28,840 Speaker 1: think earlier in the film she says something about, don't 331 00:17:28,880 --> 00:17:30,760 Speaker 1: have a staring contest with me, because I'll win. I 332 00:17:30,760 --> 00:17:34,840 Speaker 1: think she says something like that, and he's just holding 333 00:17:34,880 --> 00:17:36,560 Speaker 1: the food in his mouth for the longest time and 334 00:17:36,640 --> 00:17:39,160 Speaker 1: doesn't take a bite, and then finally he bites down 335 00:17:39,200 --> 00:17:41,880 Speaker 1: and starts to chew, and while he does, she says 336 00:17:41,920 --> 00:17:45,199 Speaker 1: this to him. She says, I want you flat on 337 00:17:45,240 --> 00:17:49,920 Speaker 1: your back, helpless, tender, open, with only me to help, 338 00:17:50,560 --> 00:17:54,280 Speaker 1: and then I want you strong again. It's like the 339 00:17:54,400 --> 00:17:58,600 Speaker 1: kinkiest shit ever. And the wild thing is he likes it. Like. 340 00:17:58,640 --> 00:18:01,080 Speaker 1: One of the next scenes is them in bathroom. She's 341 00:18:01,119 --> 00:18:04,439 Speaker 1: sitting next to him. He looked the poisons is taking effect. 342 00:18:04,440 --> 00:18:06,400 Speaker 1: He looks like he's about to throw up, and he says, 343 00:18:06,480 --> 00:18:11,600 Speaker 1: kiss me, my girl, before I'm sick. And then as 344 00:18:11,640 --> 00:18:14,680 Speaker 1: we as we go on here, she's kind of imagining this, 345 00:18:14,680 --> 00:18:17,880 Speaker 1: this life of theirs, this future of them having children, 346 00:18:18,600 --> 00:18:21,520 Speaker 1: you know, of her Alma taking over the house of Woodcock. 347 00:18:22,040 --> 00:18:24,560 Speaker 1: And and we also learned that that first scene in 348 00:18:24,600 --> 00:18:27,520 Speaker 1: the film that she's been talking to the doctor who 349 00:18:27,600 --> 00:18:29,359 Speaker 1: came to see Reynolds when he was first sick. This 350 00:18:29,440 --> 00:18:31,480 Speaker 1: doctor is more of her age, and we've kind of 351 00:18:31,480 --> 00:18:33,760 Speaker 1: seen them become close. I think he's the one that 352 00:18:33,800 --> 00:18:36,399 Speaker 1: invites her to this New Year's Eve dance party that 353 00:18:36,440 --> 00:18:38,439 Speaker 1: she goes to but she's talking to him about these 354 00:18:38,520 --> 00:18:40,439 Speaker 1: episodes that Reynolds has, but I don't think she ever 355 00:18:40,560 --> 00:18:44,119 Speaker 1: tells him exactly what's going on. She doesn't tell him 356 00:18:44,160 --> 00:18:47,119 Speaker 1: that she's the reason why he's having these episodes. And so, 357 00:18:47,920 --> 00:18:49,960 Speaker 1: in a way, at the end of the film, when 358 00:18:50,000 --> 00:18:52,440 Speaker 1: you realize this and you realize how she's kind of 359 00:18:52,440 --> 00:18:55,639 Speaker 1: controlling this narrative with the doctor, and how she's controlling 360 00:18:56,000 --> 00:19:00,960 Speaker 1: whether or not Reynolds is healthy or sick, you realize 361 00:19:01,000 --> 00:19:04,639 Speaker 1: that that's the word control. She's the one in control. 362 00:19:04,680 --> 00:19:07,359 Speaker 1: Reynolds no longer has control. This guy who at the 363 00:19:07,440 --> 00:19:10,800 Speaker 1: very beginning was everything from shaving to his socks to 364 00:19:11,119 --> 00:19:15,399 Speaker 1: everything was completely controlled. He gladly gets into her in 365 00:19:15,800 --> 00:19:18,600 Speaker 1: this way that almost doesn't feel as perverted as it 366 00:19:18,680 --> 00:19:21,480 Speaker 1: truly is, because the setting in which is taking place, 367 00:19:21,520 --> 00:19:23,399 Speaker 1: this high end world where everything is in its right 368 00:19:23,440 --> 00:19:28,160 Speaker 1: place and even the smallest of distractions, has been completely jettisoned. 369 00:19:28,520 --> 00:19:30,600 Speaker 1: All Right, Now that I've talked about what this film 370 00:19:30,640 --> 00:19:32,800 Speaker 1: is about, I want to get into my thoughts about it, 371 00:19:32,800 --> 00:19:35,200 Speaker 1: how it's made, the ways in which I think it's effective, 372 00:19:35,200 --> 00:19:38,000 Speaker 1: and how it works. In Paul Thomas Anderson's filmography, which 373 00:19:38,000 --> 00:19:53,280 Speaker 1: I'll do right after this quick break. Okay, everybody, we 374 00:19:53,320 --> 00:19:56,119 Speaker 1: are back in the screening room here at Hollywood Lands, 375 00:19:56,400 --> 00:19:58,200 Speaker 1: And first of all, I've got to get a shout 376 00:19:58,200 --> 00:20:01,240 Speaker 1: out to all of you listening here. Months back, when 377 00:20:01,240 --> 00:20:04,320 Speaker 1: I saw PTA's latest film, One Battle after Another, and 378 00:20:04,400 --> 00:20:06,320 Speaker 1: talk to you guys about it, I gave you my 379 00:20:06,400 --> 00:20:09,000 Speaker 1: list of my favorite PTA movies, and I asked you 380 00:20:09,119 --> 00:20:11,679 Speaker 1: for your list and your input, and a number of 381 00:20:11,680 --> 00:20:15,040 Speaker 1: you actually said that Phantom Thread was either your favorite 382 00:20:15,080 --> 00:20:18,639 Speaker 1: or one of your very top PTA films. One of 383 00:20:18,680 --> 00:20:19,920 Speaker 1: you out there even hooked me up with a way 384 00:20:19,960 --> 00:20:22,000 Speaker 1: to watch it at the time. I appreciate you, and 385 00:20:22,040 --> 00:20:25,240 Speaker 1: so I rewatched this for This is my second time 386 00:20:25,280 --> 00:20:27,840 Speaker 1: watching this. The first time was probably shortly after it 387 00:20:27,880 --> 00:20:30,560 Speaker 1: was made available at home. I guess I didn't see 388 00:20:30,600 --> 00:20:33,040 Speaker 1: this in the theater. I'm such a huge fan of 389 00:20:33,280 --> 00:20:36,640 Speaker 1: Paul Thomas Anderson, but I'm not a big romance film guy, 390 00:20:36,760 --> 00:20:38,480 Speaker 1: not a fashion world guy. And as I said earlier 391 00:20:38,520 --> 00:20:41,520 Speaker 1: in the episode, I was mistakenly under the impression that 392 00:20:41,560 --> 00:20:44,399 Speaker 1: this was a period romance and was even stranger is 393 00:20:44,440 --> 00:20:46,320 Speaker 1: that when I watched it again this second time, it 394 00:20:46,359 --> 00:20:48,680 Speaker 1: was almost like I was watching it for the first 395 00:20:48,720 --> 00:20:51,919 Speaker 1: time all over again. It's hard to say exactly why 396 00:20:52,119 --> 00:20:54,639 Speaker 1: or I had that impression I had the first time around, 397 00:20:54,720 --> 00:20:57,960 Speaker 1: or or my memories of it, but anyways, I was 398 00:20:58,000 --> 00:21:01,399 Speaker 1: so blown away on this viewing by a number of things. 399 00:21:01,440 --> 00:21:03,520 Speaker 1: First of all, as I mentioned earlier, it does have 400 00:21:03,560 --> 00:21:05,960 Speaker 1: a lot more in common with Hitchcock than I realized. 401 00:21:06,200 --> 00:21:11,080 Speaker 1: I'm thinking of Hitchcock films like Notorious or Rebecca or 402 00:21:11,960 --> 00:21:16,600 Speaker 1: even Vertigo some more of these psychological movies. I scribbled 403 00:21:16,600 --> 00:21:20,080 Speaker 1: down Vertigo in reverse question mark. Well, I was watching this. 404 00:21:20,119 --> 00:21:22,080 Speaker 1: I don't even know what that means, but it has 405 00:21:22,119 --> 00:21:24,560 Speaker 1: all these similar themes of wanting to be with this 406 00:21:24,600 --> 00:21:27,280 Speaker 1: person and control this person, and also that tried and 407 00:21:27,280 --> 00:21:30,160 Speaker 1: true Hitchcock theme of voyeurism, which there are a number 408 00:21:30,160 --> 00:21:32,600 Speaker 1: of moments and phantom thread that fit that particular Bill 409 00:21:32,720 --> 00:21:35,680 Speaker 1: is a great shot where Daniel day Lewis is close 410 00:21:35,760 --> 00:21:37,560 Speaker 1: up of his eye looking through the peep hole on 411 00:21:37,600 --> 00:21:41,199 Speaker 1: a door during a fashion show of his dresses being 412 00:21:41,280 --> 00:21:43,840 Speaker 1: paraded around this house, and then there's just these endless 413 00:21:43,840 --> 00:21:47,560 Speaker 1: shots of him looking at all the women, particularly Alma 414 00:21:47,960 --> 00:21:51,720 Speaker 1: as he's fitting them in his garments, measuring them. This 415 00:21:51,800 --> 00:21:54,240 Speaker 1: to him is intimacy. This is spending time with someone, 416 00:21:54,320 --> 00:21:56,639 Speaker 1: is having them there while you do the work. And 417 00:21:56,680 --> 00:22:00,000 Speaker 1: then this nefarious plot to hurt Reynolds, to make him vulnerable, 418 00:22:00,080 --> 00:22:02,080 Speaker 1: and to be there to catch him as the only 419 00:22:02,119 --> 00:22:03,960 Speaker 1: one who knows what's going on and how to help. Like, 420 00:22:04,880 --> 00:22:06,879 Speaker 1: I'd like to think that if Alfred Hitchcock read this 421 00:22:06,960 --> 00:22:10,920 Speaker 1: script that he would have been all in on wanting 422 00:22:11,000 --> 00:22:12,479 Speaker 1: to make this movie. This would have been right up 423 00:22:12,480 --> 00:22:15,119 Speaker 1: his alley, right up his kink alley too, you know. 424 00:22:15,440 --> 00:22:17,920 Speaker 1: And I think that this aspect of the script really 425 00:22:17,960 --> 00:22:20,959 Speaker 1: elevates this film to something that is much deeper and 426 00:22:21,280 --> 00:22:23,560 Speaker 1: much more fucked up than it appears to be on 427 00:22:23,600 --> 00:22:26,600 Speaker 1: the surface. I mentioned earlier that this film is about, 428 00:22:27,040 --> 00:22:30,480 Speaker 1: amongst other things, it's about smell, touch, taste, sound, and 429 00:22:30,560 --> 00:22:33,359 Speaker 1: it truly is. This is one of the most tactile 430 00:22:33,760 --> 00:22:37,240 Speaker 1: movies I've ever seen. The wool of his jacket in 431 00:22:37,280 --> 00:22:40,720 Speaker 1: that early restaurant, seen his scarf. You hear the creaking 432 00:22:40,760 --> 00:22:43,080 Speaker 1: of the stairs and the wooden floors and the country home, 433 00:22:43,440 --> 00:22:46,399 Speaker 1: the butter scratching against the toasted bread, the tea pouring 434 00:22:46,440 --> 00:22:48,919 Speaker 1: into the copy, And I know you're thinking, yeah, yeah, yeah, dude, like, 435 00:22:49,080 --> 00:22:51,280 Speaker 1: of course you hear these things. It's a movie, but 436 00:22:52,000 --> 00:22:56,480 Speaker 1: more so than your average film, it's this one is 437 00:22:56,520 --> 00:22:59,959 Speaker 1: so hyper focused on all these senses, Like you can 438 00:23:00,160 --> 00:23:02,680 Speaker 1: feel that your senses have been heightened. You can smell 439 00:23:02,720 --> 00:23:05,040 Speaker 1: the food, you can touch the fabric. You see all 440 00:23:05,080 --> 00:23:08,200 Speaker 1: these tiny wounds all over Reynold's thumb. I think what 441 00:23:08,400 --> 00:23:10,359 Speaker 1: you know are there from all the sewing and the pinning. 442 00:23:10,640 --> 00:23:13,800 Speaker 1: You know, this is evocative filmmaking at its very best. 443 00:23:14,280 --> 00:23:16,119 Speaker 1: And when it comes to the way it looks, I 444 00:23:16,160 --> 00:23:19,000 Speaker 1: guess it was shot by Pta himself. He's worked with 445 00:23:19,040 --> 00:23:22,800 Speaker 1: a few dps over his career, mostly with Robert Elswit, 446 00:23:22,920 --> 00:23:25,720 Speaker 1: who shot everything from Bogie Knights to There Will Be Blood. 447 00:23:26,280 --> 00:23:28,800 Speaker 1: But here there's no credit for director of photography. There's 448 00:23:28,840 --> 00:23:31,760 Speaker 1: just a credit for lighting cameraman, and that goes to 449 00:23:31,840 --> 00:23:36,040 Speaker 1: Michael Bauman, who was CODP with Anderson on Licorice Pizza, 450 00:23:36,119 --> 00:23:38,960 Speaker 1: and then he's the sole DP on one battle after another. 451 00:23:39,440 --> 00:23:42,919 Speaker 1: I don't know much about Anderson's onset style of working 452 00:23:43,880 --> 00:23:45,919 Speaker 1: or his prep work. Honestly, I really should, but he 453 00:23:45,960 --> 00:23:49,880 Speaker 1: strikes me as the Scorsese type. You know, Scorsese famously 454 00:23:50,040 --> 00:23:54,600 Speaker 1: storyboards everything and one DP in particular, Robert Richardson has 455 00:23:54,640 --> 00:23:56,240 Speaker 1: talked about in the past how when you work with 456 00:23:56,280 --> 00:23:58,760 Speaker 1: Marty you're basically just shooting what's in his head, Like 457 00:23:58,800 --> 00:24:01,920 Speaker 1: he's like, here's what you're doing, Just go make this happen, 458 00:24:02,200 --> 00:24:04,080 Speaker 1: whereas other directors maybe give you a little bit more 459 00:24:04,080 --> 00:24:07,000 Speaker 1: freedom and in the kind of image that you're capturing. 460 00:24:07,359 --> 00:24:10,120 Speaker 1: I can imagine that Pta operates in the same way, 461 00:24:10,160 --> 00:24:12,000 Speaker 1: and so, you know, doing the work himself as DP 462 00:24:12,119 --> 00:24:14,520 Speaker 1: probably comes pretty naturally to him. I should mention though, 463 00:24:14,520 --> 00:24:17,359 Speaker 1: that Robert Elswit this previous DP for so many of 464 00:24:17,440 --> 00:24:20,040 Speaker 1: Anderson's films, he threw some shade at this movie when 465 00:24:20,040 --> 00:24:22,639 Speaker 1: it came out, Phantom Thread. It sounds like their partnership 466 00:24:22,680 --> 00:24:25,679 Speaker 1: didn't end very well. In an interview, Elswit said that 467 00:24:25,720 --> 00:24:28,399 Speaker 1: he and Anderson weren't getting along anymore and that they 468 00:24:28,440 --> 00:24:31,360 Speaker 1: could both be equally immature. He said that I think 469 00:24:31,359 --> 00:24:33,800 Speaker 1: the last film they worked on together was Inherent Vice, 470 00:24:33,960 --> 00:24:36,639 Speaker 1: and they sounds like els what was pretty miserable. And 471 00:24:36,680 --> 00:24:38,560 Speaker 1: then he said, as far as how Phantom Thread looks, 472 00:24:38,600 --> 00:24:41,000 Speaker 1: that PTA just threw a lot of smoke in the 473 00:24:41,080 --> 00:24:44,600 Speaker 1: room and that normally Elswitt would never have been allowed 474 00:24:44,640 --> 00:24:46,480 Speaker 1: to do that on a set to get a shot, 475 00:24:46,520 --> 00:24:48,280 Speaker 1: So I don't know, it seems a little dubious of 476 00:24:48,320 --> 00:24:50,159 Speaker 1: the finished product, But who knows how much of this 477 00:24:50,280 --> 00:24:53,600 Speaker 1: is sour grapes or what. The performances here, you know, 478 00:24:53,680 --> 00:24:56,359 Speaker 1: are just incredible throughout. Daniel da Lewis goes without saying 479 00:24:56,800 --> 00:24:59,639 Speaker 1: such an understated effort from him. It's like the polar 480 00:24:59,640 --> 00:25:02,000 Speaker 1: Opposi of his performance. And there will be blood, which 481 00:25:02,040 --> 00:25:04,879 Speaker 1: is volcanic. This is so inward. I mean, you're watching 482 00:25:04,960 --> 00:25:07,880 Speaker 1: him trying to hold everything together, trying to keep things 483 00:25:08,119 --> 00:25:11,480 Speaker 1: as ritualistic and buttoned up as he can. Of course 484 00:25:11,800 --> 00:25:15,520 Speaker 1: DDL BE and DDL full method and all that. He 485 00:25:15,880 --> 00:25:19,160 Speaker 1: studied dressmaking for about a year before shooting this film 486 00:25:19,200 --> 00:25:21,720 Speaker 1: with the costume designer at the New York City Ballet. 487 00:25:22,240 --> 00:25:24,119 Speaker 1: At the end of the study he created a gown 488 00:25:24,160 --> 00:25:27,600 Speaker 1: by a famous Spanish designer. He recreated it, you know, 489 00:25:28,040 --> 00:25:31,160 Speaker 1: entirely by hand himself. I mean, you can call that overkill, 490 00:25:31,200 --> 00:25:33,720 Speaker 1: but his performance is so lived in and so undeniably 491 00:25:33,760 --> 00:25:35,920 Speaker 1: authentic that you've got to give it up for the process. 492 00:25:36,280 --> 00:25:38,960 Speaker 1: And I don't know about Vicki Creep's process here as Alma, 493 00:25:39,000 --> 00:25:42,480 Speaker 1: but her acting, everything is all in her face. To 494 00:25:42,560 --> 00:25:44,320 Speaker 1: go back to that scene when they first go back 495 00:25:44,359 --> 00:25:46,560 Speaker 1: to the country house. I mean, you watch her go 496 00:25:46,640 --> 00:25:49,240 Speaker 1: from being humiliated to love struck to conniving and just 497 00:25:49,320 --> 00:25:52,960 Speaker 1: back and forth. Her performance in particular really lends this 498 00:25:53,640 --> 00:25:58,040 Speaker 1: the visual emotionality of a silent film. Going back to Hitchcock, 499 00:25:58,119 --> 00:26:00,600 Speaker 1: you know, Hitchcock came up in silent film, and he 500 00:26:00,640 --> 00:26:02,680 Speaker 1: always maintained that the audience should be able to turn 501 00:26:02,720 --> 00:26:05,360 Speaker 1: off the sound and follow along with your film visually, 502 00:26:05,800 --> 00:26:08,400 Speaker 1: that the storytelling should be that good. And I think 503 00:26:08,440 --> 00:26:12,560 Speaker 1: Anderson achieves that here, perhaps more so than any other 504 00:26:12,600 --> 00:26:14,720 Speaker 1: movie he's made. I mean, it's helpful because there's only 505 00:26:14,760 --> 00:26:17,919 Speaker 1: like three main characters throughout the whole thing. But obviously 506 00:26:18,160 --> 00:26:21,400 Speaker 1: he's dialed in here on this visual style of communication. 507 00:26:21,960 --> 00:26:24,119 Speaker 1: I mean, just think back to what I earlier described 508 00:26:24,320 --> 00:26:26,159 Speaker 1: with the ritual of getting ready for the day, you know, 509 00:26:26,800 --> 00:26:29,000 Speaker 1: I think that's the template here for how every scene 510 00:26:29,080 --> 00:26:32,400 Speaker 1: is so well structured and captured. But all that said, 511 00:26:32,440 --> 00:26:35,600 Speaker 1: I think my favorite performance here might be Leslie Manvila Cyril. 512 00:26:35,920 --> 00:26:39,400 Speaker 1: She's this incredible English actress. She's appeared in a bunch 513 00:26:39,400 --> 00:26:42,760 Speaker 1: of Mike Lee films such as grown ups and high hopes, 514 00:26:42,800 --> 00:26:47,360 Speaker 1: secrets and lies and more. She just nails this very uptight, 515 00:26:47,560 --> 00:26:51,600 Speaker 1: very English, very protective, tough as nails, unfuck withable person 516 00:26:51,920 --> 00:26:54,440 Speaker 1: who puts every ounce for energy into retaining this wall 517 00:26:54,440 --> 00:26:57,879 Speaker 1: around her brother. It's a really incredible performance. And as 518 00:26:57,920 --> 00:27:01,280 Speaker 1: far as poisonings go, is this the definite a poisoning film? 519 00:27:01,320 --> 00:27:04,320 Speaker 1: I mean, okay, doa probably is, because that begins with 520 00:27:04,359 --> 00:27:06,399 Speaker 1: a guy getting poisoned and that's the whole point of 521 00:27:06,440 --> 00:27:09,919 Speaker 1: the film. But I think this one might take the 522 00:27:09,920 --> 00:27:12,960 Speaker 1: cake a little more. The poisoning is stitched into the plot, 523 00:27:13,119 --> 00:27:15,879 Speaker 1: just like Reynolds Woodcock stitches notes and things in the 524 00:27:15,920 --> 00:27:19,280 Speaker 1: linings of his garments. I've got to reevaluate my PTA 525 00:27:19,359 --> 00:27:21,639 Speaker 1: rankings now that I've watched this. This is going to 526 00:27:21,680 --> 00:27:26,560 Speaker 1: be up way higher than it was before. Definitely top five, beautiful, haunting, 527 00:27:27,520 --> 00:27:31,120 Speaker 1: surprisingly fucked up piece of film. Exquisitely fucked up, that is. 528 00:27:32,000 --> 00:27:33,719 Speaker 1: Check this out. Let me know if you've seen it, 529 00:27:33,760 --> 00:27:35,280 Speaker 1: if you dig it, if you think I'm right or 530 00:27:35,280 --> 00:27:38,000 Speaker 1: wrong anything I've talked about, and you know, then come on, 531 00:27:38,080 --> 00:27:40,520 Speaker 1: let's talk all right. Time for one final break, But 532 00:27:40,600 --> 00:27:42,240 Speaker 1: hang in there and I'll see you on the other 533 00:27:42,320 --> 00:28:10,280 Speaker 1: side in just a moment. Well, well, well we did it, folks, 534 00:28:10,320 --> 00:28:13,000 Speaker 1: we got to the very end of the very first 535 00:28:13,040 --> 00:28:15,800 Speaker 1: screening room episode. I hope this was dope. I hope 536 00:28:15,840 --> 00:28:17,800 Speaker 1: you got something out of it. And maybe you've got 537 00:28:18,000 --> 00:28:20,520 Speaker 1: some of your own ideas or theories about Phantom Thread 538 00:28:20,560 --> 00:28:22,439 Speaker 1: you'd like to share. Maybe it's inspiring you to go 539 00:28:22,480 --> 00:28:24,920 Speaker 1: back and watch it again. There are so many moments 540 00:28:24,920 --> 00:28:26,719 Speaker 1: in this movie that are kind of up to interpretation 541 00:28:27,160 --> 00:28:29,720 Speaker 1: or that we don't really know for one way or another. 542 00:28:30,040 --> 00:28:32,160 Speaker 1: So I'm always gamed to hear what you all think 543 00:28:32,240 --> 00:28:34,560 Speaker 1: about this sort of thing. Let me know. You can 544 00:28:34,560 --> 00:28:37,320 Speaker 1: call me, you can text me six one seven nine 545 00:28:37,400 --> 00:28:40,600 Speaker 1: oh six six six three eight, You can email me 546 00:28:40,680 --> 00:28:45,080 Speaker 1: disgrace lampod at gmail dot com. You can jump into 547 00:28:45,280 --> 00:28:47,920 Speaker 1: the chat over on Patreon if you're a member of 548 00:28:47,960 --> 00:28:51,400 Speaker 1: Disgraceland All Access there, which if you are, thank you, 549 00:28:51,440 --> 00:28:53,440 Speaker 1: and if you are not, you can sign up right 550 00:28:53,480 --> 00:28:56,760 Speaker 1: now at disgracelampod dot com. Okay, so, coming next week 551 00:28:56,840 --> 00:28:59,360 Speaker 1: on Monday, we've got our archive episode on the one 552 00:28:59,360 --> 00:29:02,680 Speaker 1: and Only River Phoenix, another actor taken from us way 553 00:29:02,720 --> 00:29:06,000 Speaker 1: too soon, super emotional episode. Fair warning, it was a 554 00:29:06,000 --> 00:29:09,680 Speaker 1: tough one to write, and Jake really delivered a really effective, 555 00:29:10,120 --> 00:29:13,080 Speaker 1: affecting narrative performance as well. This will be part of 556 00:29:13,080 --> 00:29:16,440 Speaker 1: our La Nightmares month here in Hollywoodland, and the question 557 00:29:16,520 --> 00:29:19,200 Speaker 1: of the week for next week will be which actor's 558 00:29:19,280 --> 00:29:22,760 Speaker 1: death hit you the hardest? Let me know, Shoot me 559 00:29:22,760 --> 00:29:25,800 Speaker 1: a message, send me a voicemail, maybe your call your 560 00:29:25,800 --> 00:29:28,600 Speaker 1: text will be featured on next week's rap Party, happening 561 00:29:28,680 --> 00:29:31,080 Speaker 1: on Wednesday, and then on Friday, We're going to pair 562 00:29:31,120 --> 00:29:33,840 Speaker 1: all that stuff with a special screening room episode on 563 00:29:34,440 --> 00:29:38,360 Speaker 1: Running on Empty, the nineteen eighty eight Sydney Lumet film 564 00:29:38,520 --> 00:29:42,240 Speaker 1: starring River Phoenix, Christine Lottie and jud Hirsh So just 565 00:29:42,240 --> 00:29:44,120 Speaker 1: a heads up on that if you feel like watching 566 00:29:44,120 --> 00:29:47,160 Speaker 1: that or revisiting it before I go deep on that movie. 567 00:29:47,280 --> 00:29:49,520 Speaker 1: And I will see all of you right here in 568 00:29:49,600 --> 00:29:51,600 Speaker 1: Hollywood Land next week. But until then I will leave 569 00:29:51,640 --> 00:29:53,960 Speaker 1: you with me reading you. The list of the top 570 00:29:54,000 --> 00:29:57,640 Speaker 1: films from December of twenty seventeen, the month that Phantom 571 00:29:57,720 --> 00:30:04,000 Speaker 1: Thread was released in theaters in America. Number one Star 572 00:30:04,080 --> 00:30:08,320 Speaker 1: Wars Episode eight, The Last Jedi, directed by Ryan Johnson. 573 00:30:09,400 --> 00:30:13,959 Speaker 1: Number two Jumanji Welcome to the Jungle, directed by Jay Kasten, 574 00:30:14,040 --> 00:30:17,840 Speaker 1: directed by Ron Jos. Number three Coco by Trish directed 575 00:30:17,840 --> 00:30:21,440 Speaker 1: by Lee Ungrich five directed. Number four is directed by 576 00:30:21,480 --> 00:30:25,160 Speaker 1: pitch Perfect Races seven directed by Trish. C six directed 577 00:30:25,160 --> 00:30:29,320 Speaker 1: by Steve. Number five Ferdinand Michael directed by Carlos South 578 00:30:29,320 --> 00:30:32,600 Speaker 1: Done seven directed by Zaas. Number six directed The Greatest 579 00:30:32,640 --> 00:30:40,760 Speaker 1: Shouffals directed by Michael Gracey sec Quit Talking and Start Mixing.