Boogie Nights Almost Went Straight To Home Video

It's that time of year. Directors, producers, multimegastars are doing the holiday press push for awards consideration on their films. One of the hallmarks of this process in the last few years has been the various roundtables that The Hollywood Reporter orchestrates, and with their "producers" roundtable having just dropped, The Playlist points out an interesting anecdote shared between Michael de Luca and Mark Wahlberg on their experience making Boogie Nights. 

MDL:  'Boogie Nights' scored horribly. They recruit for these [test screenings] off a paragraph [synopsis] in the mall, and the paragraph for 'Boogie Nights' made it look like a sitcom, and then they come for this three-hour exegesis on existential crises in porn. It got to a point where Bob Shaye, my old boss, chased good scores on that movie, and that movie was never going to score high.

MW: I remember he did his own cut and made Paul watch it.

MDL: Yeah, it was horrible. It was tough. That movie was going straight to video, and then the reviews started to come in at the New York Film Festival. If it wasn't for early reviews� 

It's hard not to consider the dazzling irony of the prospect of the film going straight to video, given its message about the effects of video production over celluloid distribution. You can watch the roundtable in its entirety below, or skip to the pertinent information starting around 44:50.



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READ: C&RV Exclusive Interview With Laura Colella, Writer/Director Of PTA-Fav "Breakfast With Curtis"

We were able to grab a few wonderful minutes on the phone with Rhode Island filmmaker Laura Colella to discuss her new film Breakfast With Curtis, which Paul Thomas Anderson warmly embraced at the LA Film Festival last year. The movie follows an introverted 14-year-old boy who is enlisted to be a videographer by his eccentric bookseller neighbor, and in the process, grows a formative bond with the rest of his small community. In the interview, we covered everything from meeting Paul, to the inspiration she found in her home-town of Providence, to the precarious nature of the film festival circuit. What follows is a lightly edited transcript of our conversation. Enjoy!

C&RV: As a relative newcomer to your work, I have to say that Breakfast With Curtis offers a very palpable sense of location and age. What drove you to capture Rhode Island in such a light?

LC: Well, it's actually -- that's where I live. I'm based in Providence, Rhode Island. This is my third feature, and I've shot most of all of them there. My first two features were mainly shot there. It's just a place that really kind of inspires me. It has a lot of great locations, a lot of talented, interesting people. So that combined with the fact that I'm working in a sort of low-budget realm has made it a perfect place to shoot. I teach at film schools, I teach at Rhode Island School of Design, in their film program, and I'm teaching screenwriting at Brown and I've always incorporated students into my work, too, as crew. Sort of a mix of professional and student crew.

C&RV: Talk a bit about casting non-professional actors in the lead roles of Breakfast With Curtis. Having cast friends and acquaintances, mainly, were you able to write the script with their voices in mind? Did any of them have any trepidation about joining the film? 

LC: (laughs) Did you know about the background of the film before seeing it? 

C&RV: No, actually, I didn't it. I went in fresh. 

LC: Oh okay, cool. That's the fun part. That's how I like people to see it, you know? I don't know how much you know about the back story, but in reality, everybody who lives in the purple house in the movie lives in those actual apartments in real life, and everybody who lives in the pink house next door actually lives in the pink house next door. So I live in that house with my boyfriend, who plays the character of Frenchy, and then on the second floor, that elderly woman is our landlady. And then downstairs, Syd and Pirate are actually Adele [Parker] and Theo [Green]. Next door, the couple who are Curtis's parents are actually Curtis's parents and the little boy who plays Young Curtis is his little brother. So that's the full story, and all the cats and dogs really live there too (laughs).

C&RV: What would you say was the biggest challenge in getting your vision on the screen with limited resources? Were there any big compromises you had to make in order to see that vision through, given the constraints of budget and time?

LC: I was very fortunate throughout the process that things went pretty smoothly, and that it was a fairly relaxed shoot, and that I had help come in, in post-production when I needed it -- people who kind of came on board and helped with the finishing phase... really kind of pro sound mixers and colorists and things like that, kind of in the finishing process... But making it was very hands on, and I'd say the biggest challenge has been music licensing, 'cause I put in a lot of music, so�

C&RV: Yeah, I noticed that! All of a sudden Brian Eno came on the soundtrack... 

LC: (laughs) Yeah, that's been replaced. Some things have been replaced, but I'm really happy with the replacement, so it worked out.

C&RV: Well since you brought up music, I was going to ask, did you conceive the film for specific musical qualities or did you discover it in the post-production process?

LC: The big discovery for me was John Fahey's music. He's the solo guitarist whose music is throughout the -- sixteen tracks of his used in the film. And I just became really attached to those. I kept using them, and I was like, "Oh my god," he almost started sounding like a narrator to the movie. So I became really attached to that music, and I was able to license that music, so that was a really big relief, because I had grown so attached to it. 

C&RV: And he wasn't an assigned composer, you discovered him later?

LC: I discovered him later on. He's deceased actually. It was through his estate that I was able to license it.

C&RV:  It's good that it was able to actually wind up in the film because it adds a really nice touch to it.

LC: Yeah. I love it.

C&RV: One of the most immediately striking things in the film is the use of color; the big purple house, Frenchy's yellow gym shorts and exercise room, etc. Talk a bit about your process for finding what you wanted this film to be cinematically. How did you enjoy being your own DP?

LC: Yeah. I mean, I think our homes and our yards are very, sort of, visually interesting and rich. That's always been part of the attraction for me shooting there. That was always there from the beginning. I knew that we had great looking sets and locations at our fingertips. That was definitely a big draw. The combination of the characters around me and the locations around me immediately just made it a real draw, to want to shoot this project. I also wanted to shoot it myself because I really� I had a couple of people helping me -- Jake Mahaffy, who's a really terrific filmmaker who was living a block away from me at the time actually. And my boyfriend Aaron also operated sometimes, usually for Steadicam-type shots. They shot whenever I was in it, basically. My first two features I shot with a DP, but my training as a filmmaker was very hands-on. I shot all of my student films, and I've shot stuff over the years for myself and for other people, but it was really exciting to be able to shoot this myself with a 5D. Really low-tech and hands-on.

C&RV: Having made a couple feature films through this system now, and maneuvering through the festival process with Breakfast With Curtis, how do you feel about the sate of independent film? Is it harder to get your movie seen than you anticipated?

LC: Gosh, you know, that part of it was definitely difficult. I felt like it should've gotten into festivals that it didn't get into. And we had a great premiere at the LA Film Festival, and that's actually where Paul [Thomas Anderson] saw the film, so that was really great. And that's just a really wonderful festival, actually. They take great care of filmmakers. So it turned out to be a wonderful premiere, but there turned out to be a lot of -- I submitted it around to other festivals that it didn't get into that I thought it should've. But that part is such a crap shoot. I'm sure it's the hardest part for most people. I feel like I was fairly lucky with this film, and also in getting the chance to have it distributed.

C&RV: Talk a little bit about finding financing for an independent film. Was your experience at RISD helpful in getting your films off the ground? How were you able to scrounge up the resources to make Breakfast With Curtis happen?

LC: This is really a no-budget film, relatively. It was a really tiny budget. I got a couple of grants, small grants, that covered basically all of the production and post-production budget. One of those grants was from the Rhode Island School of Design where I teach, and one of them was from the Rhode Island State Council on the Arts, and they were both just really small grants, but because I did all the work, I edited it myself -- no one was paid to work on it -- and the only person shooting was me, Aaron, and a former student from RISD who had just graduated who did the sound for most of it. And there's occasionally a few other people. The crew ranged from me actually shooting by myself to five at the most, probably. Pretty tiny production.

C&RV: Paul Thomas Anderson was a big champion for the movie coming out of the LA Film Festival in 2012. How did you two cross paths initially? Talk a bit about what his support means for the film moving forward.

LC: We met at the Sundance Lab. I was a screenwriting and directing fellow in the year 2000. He was one of the creative advisers there. He was there for the first week as one of the advisers, and he was just very sympathetic to my project, which was not this project, it was another project called Stay Until Tomorrow. That was my second feature. But he was just really helpful in giving feedback when I had a rough cut of the film. We just basically stayed in touch through email over the years. And then he came to the screening at the festival, and he liked it so much that he offered to host a screening of it at the Aero Theatre. And I was like, "Oh, great!" It was a little dream idea. And then I just kind of followed up, and he came through. It was amazing. We had a really long, nice Q&A, full house. Very generous of him, sweet.

Breakfast With Curtis opens at the Cable Car Cinema in Providence, RI, this Friday, November 22, at the IFC Center in New York, NY, on Wednesday, December 4th, and at the Downtown Independent in Los Angeles, CA, on Friday, December 20th. Seek it out!

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Brolin Has More To Say About "Vice"; McConaughey Loves The Master

So far, the only two actors to come out and speak publicly about the experience of making Inherent Vice with Paul Thomas Anderson have been a stealthy Eric Roberts, and Josh Brolin, who (by our count) has just made his third set of public remarks on the matter. Our very attentive readers pointed us toward a sound bite from Mr. Brolin last week where he referred to the making of the movie as "the craziest, most brilliant experience of [his] life."

Now, as he begins press for Spike Lee's "Oldboy" remake, Brolin seems to already be waxing nostalgic on the process of working with PTA . Via The Playlist:

�My dad said recently, and I really appreciated it, 'There's a lot of directors out there but there's very few storytellers.' And working with these extreme geeks like myself who are very much these film fanatics is so nice. You're in this kind of iconic awe, and then you get to the set and you go, 'Okay, I actually have to work, we actually want to make this as good as I can be.' Like with Paul: he was taking stuff out of 'Inherent Vice', whittling away at what was in the book, and I was saying wouldn't it be great if we could bring some of what was in the book back," Brolin said. "Who the fuck am I to say that, you know what I mean?�

He added, �But then we start collaborating and putting stuff in there, and realizing, 'Okay�let's take it out, let's colorize it even more with something else, and then how are we going do this on set?' You realize all the work you've done around a table was meaningless, but it fed something. You don't know what it was, but you're always looking for that elusive thing.� 

With "Oldboy" and Jason Reitman's "Labor Day" both set for release this year, it seems fair to assume Brolin will be doing quite a few more of these interviews in the coming weeks, so rest assured we'll have our eyes and ears out for more anecdotes. Perhaps the real question is, which cast member will come out of the woodwork next?

Also in the news recently, Matthew McConaughey listed "The Master" as one of his five favorite films for Rotten Tomatoes, stating:

A fictional screenplay with fictional characters made so well it felt like a biographical nonfiction drama, like a considerately staged documentary. Identity of place and people. I could smell and taste it.

Finally, last week we spoke with Laura Colella, the writer/director/star of PTA-favorite "Breakfast With Curtis." We covered everything from the nature and difficulties of making a micro-budget independent feature to how she and Paul got connected in the first place. We're aiming for that interview to go live by the end of the week, so be sure to check back for that in the next few days.

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"The Master" is now available on Blu-ray and DVD.

Michael K. Williams Also Reportedly Has Part in Inherent Vice

Today, we can confirm something which has been sputtering through the rumor mill for the better part of a couple months now. Michael Kenneth Williams -- better known as Omar from The Wire, and Chalky from Boardwalk Empire -- will indeed appear in Inherent Vice for Paul Thomas Anderson next year, according to Deadline.

Williams' part in the film is still unknown, but with this development and the announcement of Eric Roberts' participation last week, it would appear that there is still plenty about this movie for us to be pleasantly surprised by in the weeks and months ahead. Hang in there, folks!

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"The Master" is now available on Blu-ray and DVD. 

PTA Headed To Austin Film Festival To Moderate Jonathan Demme Q&A, "Greaser's Palace" Screening

According to many on the ground, including the local presses, Paul Thomas Anderson will be attending the Austin Film Festival this coming weekend to moderate a Q&A with long-time filmmaking idol and friend Jonathan Demme. That talk will be this coming Saturday at 3:45pm in the Stephen F. Austin Ballroom.

On Sunday, PTA will be co-hosting a screening of Robert Downey Sr.'s 1972 film "Greaser's Palace" with Demme. That'll start at 5:30pm at the State Theatre, with another Q&A between the two directors following.

If you live in or around Austin, TX, and haven't made up your mind to get passes yet, it's probably worth looking into here. Aside from these talks, some phenomenal titles are screening this year.

And here's an outlandishly amusing clip from Greaser's Palace

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"The Master" is now available on Blu-ray and DVD. 

Punch-Drunk Love Was Released 11 Years Ago Today

Eleven years ago today, Paul Thomas Anderson's fourth feature-length motion picture, Punch-Drunk Love, met commercial theatrical exhibition for the very first time. Some weeks back, a reader of ours passed along a small video of PTA at Cannes 2002, accepting his award for Best Director (Thanks Diego). On top of that, now is as good a time as any to review all the Cannes interview footage with PTA circa 2002 from the ol' cigsandvines YouTube channel. Enjoy!

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"The Master" is now available on Blu-ray and DVD. 

Eric Roberts Boasts Mysterious Involvement in 'Vice'; PTA Responsible For Anchorman?

Friends, it has been far too long. We have a bit to get caught up on.

Firstly, if this October 6th edition of The Dr. Drew Podcast is any indication, it would be appear that Eric Roberts is also going to be in Inherent Vice. He has some brief, nice things to say about the experience of working with PTA, but keeps it mostly very (very) tight-lipped. The good stuff comes in around 15:20, and here's our loose transcription:

What's coming up for you? 

Uh, what's coming up for me -- you know what? Uh... a Paul Thomas Anderson film is coming out, and um, uh, I can't talk about it, I can just say it's coming out. And um--

When? 

Uh. Eliza? When's the Paul Thomas Anderson film coming out?

[VOICE: No idea!]

No idea when it's coming out.

She has no idea. So we're not helping you, bud. Sorry.

We will -- we will post it when we find out. 

But -- but that was a great experience, and you know, and, and uh... and making movies these days is a lot like making instant coffee; it is fast and it is not particularly tasty. And uh... but working with him was like the old days.

Uh-huh.

He shot on 35mm, and you got three or four takes. It was like wow. 'Cause now you get one take. You might get two. But you get one take.

As you can probably guess, we have not been able to surmise who Mr. Roberts will be playing in the film, as it seems pretty deliberately under wraps. Time shall tell. Thank you to the number of followers who passed this along to us today!

In other PTA related news, SplitSider is currently running a story called The Lost Roles of Anchorman, which chronicles the various incarnations and collaborations of Anchorman: The Legend of Ron Burgundy that never came to pass. Much to our surprise, Paul has a spot on the list, and not a particularly dismissible one at that. The story purports that Paul was in early talks to produce the film prior to making Punch-Drunk Love, and even has a direct quote from Will Ferrell on the matter:

He was the reason why we wrote the script. 'Cause he had read a script Adam [McKay] and I had written called August Blowout that he thought was really funny and it was stuck at a studio and they weren't making it... To his credit... very nice of him, [he] loved that script. He said, "Why aren't you making this? What if I help you guys get something made? You just write whatever you want and I will be the producer. So, we wrote Anchorman on spec. He was kind of the impetus to get it going. He went on to do other things. Punch-Drunk Love. But he got the ball rolling for us.

You can listen to the audio of the interview that quote was lifted from here, it being pretty much the first topic discussed. The story lists Maya Rudolph and Bill Macy as ones to hit the chopping block before production started in earnest as well (Thanks to Joe for passing this along!)

Also in order is a big (albeit belated) celebratory note about the 16th theatrical anniversary of Boogie Nights, which happened on October 10th. Director Jason Reitman, who hosted a live-read of the script for 'Boogie' at TIFF a few weeks back, directed another read of it on the 10th at LACMA with some new faces. The cast for that reading was as follows:

Mae Whitman in the role of Rollergirl, originated by Heather Graham

Kevin Pollak in the role of The Colonel, originated by Robert Ridgely

Jim Rash in the role of Buck Swope, originated by Don Cheadle  

Jarod Einsohn in the role of Todd Parker, originated by Thomas Jane.

Jurnee Smollett in the role of Jessie St. Vincent, originated by Melora Walters 

Judy Greer in the role of Amber Waves, originated by Julianne Moore

Nat Faxon in the role of Scotty J, originated by Philip Seymour Hoffman

Nick Kroll in the role of Reed Rothchild, originated by John C. Reilly

Don Johnson in the role of Jack Horner, originated by Burt Reynolds

Taylor Lautner in the role of Dirk Diggler, originated by Mark Wahlberg

It's not too late to sneak in a viewing of Boogie Nights in honor of the fact that it's another year older and another year wiser, until later this week week, when we'll have another anniversary to be posting about.

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"The Master" is now available on Blu-ray and DVD.