Con un paio di settimane di anticipo sono cominciate in gran segreto le riprese del nuovo film di Paul Thomas Anderson (Magnolia, Il petroliere).
Interpretato da Philip Seymour Hoffman, Joaquin Phoenix e Amy Adams, il film, originariamente intitolato The master, ora senza titolo, racconterà la controversa nascita di una setta pseudo religiosa, nell’America vulnerabile e impaurita degli anni ’50.
Dopo un lungo sodalizio coronato dal premio Oscar per Il petroliere, non sarà Robert Elswit a curare la fotografia, ma Mihai Malaimare Jr, scoperto da Francis Coppola per Un’altra giovinezza e responsabile anche dei successivi Tetro e Twixt Now and Sunrise.
Il talento rumeno girerà verosimilmente in pellicola e pare nel desueto formato a 65 mm, quello preferito anche da Christopher Nolan.
Confermatissimo invece il leggendario Jack Fisk come scenografo, il quale, dopo aver terminato di lavorare con Terrence Malick, si è buttato a capofitto in questo nuovo progetto:
It’s a lot different because Terry and he just work differently. They work differently with the actors, they work differently with light and the way things look. But they both give me a amount of freedom which is something that attracts me to these directors. Not that I need freedom or I demand that-it’s just the way I work.
I first worked with Paul on There Will be Blood and he asked me about building an oil derrick and how was I going to do it and I said I had no idea. But, you know, he’s like that. He’ll figure out a way. And that’s the way with Terry. I often say about Terry, “He asks for nothing, but expects everything,” and that’s the advice I give to new people working with him. Terry won’t ask you for a lot but that’s why he’s exciting to work with—I love Terry’s energy and passion and that’s what I think I look for with any filmmakers or even in wardrobe or grips. I just love people with passion and when I started in film, there was so much passion. And then when I was working in Hollywood, it was just boring for 15 years.
And when Terry came back to doing film, I just approached it differently and didn’t fall into the traps about worrying about your home and your penalties and what you couldn’t do, but just start thinking about all the stuff you could do. And I’ve had so much fun. I’m so excited about production design and I’m just beginning to appreciate how important it is to movies. It’s hard to make a film because you have so many people involved and when you find people you work well with you want to keep working with them.
Stanze di Cinema 