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Films of Paul Thomas Anderson

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With only four feature films to his credit, Paul Thomas Anderson has established himself as one of Hollywood's most gifted contemporary auteurs. As writer and director (and sometimes producer) of his movies, Anderson not only maintains artistic control, he brings a personal signature to his high concept movies. The themes that interest him the most are present in all his films and they are imbued with influences from his life. AndersonÆs brand of personal cinema is marked by an artistic expression that goes beyond commercialism. This research will discuss the films ôHard Eight,ö ôBoogie Nights,ö ôMagnoliaö and ôPunch Drunk Loveö focusing on AndersonÆs career, his techniques and thematic material.

Born in Studio City, California in 1970, Anderson grew up in the Valley and all his films, with the exception of ôHard Eight,ö are set in the environment of the San Fernando Valley. AndersonÆs debut feature, the low-keyed ôHard Eight,ö was released in the United States in 1997 following its 1996 release under the title ôSydney.ö The movie was based on a short film Anderson made in 1992 titled ôCigarettes and Coffee,ö that was financed by Anderson from a refund of his tuition after he dropped out of New York University film school. Following a successful screening of ôCigarettes and Coffeeö at the Sundance Film Festival of 1993, Anderson was offered the opportunity to expand it into a feature, which he did. Reworking his short films into features is an Anderson characteristi

. . .
er than just a jumbled collection of old disco hitsö (Bernardinelli). Overall, ôBoogie Nightsö is a memorably, penetrating motion picture (Bernardinelli). AndersonÆs next film, the 1999 ôMagnoliaö (which received two Academy Award nominations) is as ambitious as ôBoogie Nights.ö AndersonÆs trademarks and multiple characters and storylines and the theme of forgiveness and redemption are at play here. As Chris Vognar wrote in The Dallas Morning News, ôRemorse, regret and redemption, played out in a family or surrogate-family setting, have been key elements in all three of Mr. AndersonÆs filmsö (Vognar). Roger Ebert called the film ôoperatic in its ambition, a great joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention.ö He added that ôMagnoliaö was a rejection of the ôtimid post-modernism of the 1990s.ö Anderson called ôMagnoliaö his favorite film and in a preface to his screenplay he wrote: ôIÆd like to think that ômagnoliaö is written about what I know, who I am and what I want to be. This screenplay gives me the chance to say things that I want to be able to say in my own life. It gives me goals for my ow
. . .

Some common words found in the essay are:
Dirk Diggle, Kenneth Turan, Thomas Anderson, Jim Hard, Luis Guzman, Academy Awards, Roger Ebert, Seymour Hoffman, Fernando Valley, According Ebert, ôboogie nightsö, ôhard eightö, paul thomas, thomas anderson, paul thomas anderson, ôpunch-drunk loveö, john reilly, dir paul, dir paul thomas, philip seymour hoffman, baker hall, philip baker, film anderson, philip baker hall, biography-paul thomas anderson,
Approximate Word count = 2749
Approximate Pages = 11 (250 words per page)

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