Paul Thomas Anderson broke a major ruling on one bullet in the battle after another

The spoilers of “one battle after another” follow -up.

Whether it is a romantic comedy such as “Love-Drunk Love” or an epic like “There will be blood”, the writer/director Paul Thomas Anderson always brings a distinctive visual language for his films. It takes the long, the transfer of camera clips, symmetry clashes, non -consistency, and distinctive color options often determine his work – a mixture often calls for an older era than Hollywood. Although he is known for this powerful visual method, Anderson says his approach often calls the story and photography sites determining the shots he takes, instead of getting out of his way to create moments of high visual drama.

According to Arson himself, this rule was essential in production “One battle after another,” The latest revolutionary epic in comedy comedy (say five times quickly). In a presentation and hadith attended by a movie in the Union Square in New York, Anderson discussed his desire to “tell the story” simply without unnecessary visual decoration.

Anderson said, “Do not get gourmets, do not become screaming,” explaining his philosophy when formulating the visual language of the film. “Make the shots that tell the story, because there is a lot of the story that you tell. There is no room for decorations on sugar or powder on it, it should be very economical.” In a movie for nearly three hours like “One Battle after Other”, with a lot of specific pieces and moving parts, this type of approach is logical. However, Anderson indulged in the “gourmet” approach at a specific moment – the confrontation between Wella (Chis Infiniti) and Colonel Lukjao (Sean Ben) in the church in the sisters of the brave greek mission.

If you have seen “one battle after another”, you are likely to be already depicting the relevant shot. After attacking the important Lockjaw and Cronies, he brings his men to the church, where her father is waiting soon. The founding shot of them appears on both ends of the beautiful long room, and nothing but an empty space and the rural religious decoration between them, while the camera indicates a slight angle of the high angle, and wears the moment in the scenic view of God. Although Anderson tried to keep “economic” as possible through most of the shooting, this particular moment demanded more decoration.

“You have ended at the Rendzvous Point, these are the sisters of the brave beaver, and you love,” well, well, there are some visual opportunities here, we cannot escape from these, let’s indulge in these, ”the director explained. The old -style major shots, as you know, rise on the stairs and looked down between our hero and our villain.

The simple and least “gourmet” approach allowed everywhere the time and dramatic space to develop this scene. Anderson said: “You benefit from those moments when they come, but you are trying not to rely on them,” Anderson said.

Although the topic of the film – brutal violence against immigrant societies and terrorist violations of power in general – feels that it is especially suitable at the present time, the movie “One Battle after Other” dates back to an era a lot, specifically, specifically The new Hollywood movement in the 1960s and 1970s. It is DNA Anderson that he refers to when it refers to “old big films” such as those in the church.

You can see that the DNA is elsewhere in the movie, as in the scenes of chasing different cars that you feel that the camera man runs alongside drivers on the sidewalk, loaded with fever to see if they will collide at the next turn. You can also feel that the influence of the revolutionary action scenes of French 75 in the opening action of the film.

Looking at the inspiration for the film, this effect fits an additional level. While the story takes place in the modern era, Thomas Penchon Anderson’s novel was published loosely for the manufacture of the movie, “Finland”, in 1990. The elderly revolutionaries rose in the 1960s and 1970s – an era that directly inspired Anderson’s writing of the French. Leonardo DiCaprio star He participated in the fact that the director gave him a copy of the “days of anger” by Bian Buro – a history of radical movements in the 1970s – early in this process. Weather Underground, a prominent group of this contract, was also a specific starting point for the film.

“One battle after another” is now in theaters.