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This is a fabulous point. While I love the whole choreography and the build up along with the score, as you termed it, it is 'flashy' and doesn't add too much to storytelling per se. Glad he's moved on from this kind of stuff.

@@pratikkhara5167 Don't get me wrong, I actually love the showoff-i-ness of Magnolia. Besides, he was still in his 20s when he made this and if you can't show off in your youth, when can you?!

@@davidlean1060 Oh no, totally. I didn't mistake you. I love this sequence myself. It's so well nuanced inspite of the outlandish camera work. A shot to remember forever. Would you call this a 'set piece'?

@@pratikkhara5167 Anderson's movies can be categorized into when he was a coke head and after. Magnolia is great because he put all that Colombian fueled bravura on to the screen. There isn't an ounce of doubt that a film featuring a biblical shower of frogs or a 4th wall break where the cast have a singalong together wouldn't work and damn it, I love that 'fuck-offness'. It makes perfect sense that once he kicked that habit, he would discover the quietly confident artist within and ditch the show off. In any case, even his show off films are fantastic! I love the camera work. It's like Scorsese times 100! I'd love to see him give a movie like that a go again though. He'd teach some of the modern day wannabe, the successful directors that, wrongly, get called 'genius' a thing or two!

@@davidlean1060 Wish PTA was more prolific. I'm not assuming it's an easy job weaving such threads to make luscious fabrics of storytelling, but this is me just getting greedy!

He still shoots on film too. There is a short behind the scenes video on YT about his choice of film and lenses for Phantom Thread, which he shot himself too. The man is a genius. Not only that, if you listen to his podcast with Marc Maron, he's a hoot on top of it all!

not really she treats him better than the dad.

Paul Elroy why are you comparing neglect and abuse?😕. It doesn’t matter if the woman treats him better than the Dad. Treating someone like an object is still a form of neglect/abuse.

This scene is the one I found to be the most captivating. You’re so right, because the music really made it.

And the good Lord bring the rain in!!!!!!❤❤❤❤😢😮

The music? I'm not sure, but the score was written by Jon Brion.

Luis Gonzalez Salomón He knows the kid is going to makeup before set. It’s not the first time. It’s all part of a newly acquired lavish routine.

That's the amazing part of this film. So much is said just by the actions. You learn about the characters with the things that happen around them, not just by what they do.

@@KK-pm7ud yeah! Totally agree.

Idiosyncracy small things appear large

​@PegasusMagenta everything you see in movies is constructed and chosen for a purpose. there are mistakes sometimes but someone like paul thomas anderson would mitigate them

You must have heard that Anderson was on the set of Gosford Park in case Altman couldn't finish the film. Altman is one of his major influences. Inherent Vice borrowed heavily from The Long Goodbye.

Note how he uses the music score in this scene too...it's always there, even though there is a lot of background noise and music during the scene itself. The man is brilliant!

Did you mean the objective of the game? If so, you are a police officer and you go undercover to filter out and get evidence on any crime that is being done under the name of street racing. If you're asking about the objective of this event, it's to cause damage amounting to a certain figure that once you reach, have to escape the cops. Damage involves ramming cars, cops, structures and anything that will add to your damage count.

***** got to be the rudest CG comment ever !! I would really like to know what Emily is saying at the end :)

@SEBASTIAN AMADOR ROJAS I'm wondering what he means too!

You know nothing John Snow

That's a weird combination.

Doesn't end well too.

WAIT WHAT?!

really?!

He always reminded me of dicount Quentin Tarantino

BRUH

he was also in jackie brown

It's an important storytelling device.

I don't know if he has left those kind of gymnastics behind, but has he done a long take since? I must watch Phantom Thread again, I think the scene where Woodcock goes to the NYE party to find Alma is partly a one take, but I might be wrong.

@Jacob Sibcy BUt not to the extent he used them in Boogie Nights and Magnolia. He uses them like Speilberg uses them. SPeilbergs 'oners' are barely noticable because they serve the story so much. I admire that Anderson has it in him to be flashy and audacious, but chooses not to be nowadays. I can think of a few celebrated film makers who try and over complicate things the older they get, rather than chilling out with age. It's like Stewart Copleland said, you hear all the notes, but choose to play none of them!'

@@davidlean1060 Definitely not. Punch Drunk Love was his last movie to employ this Scorsese-esque overly busy camera work. His newer movies focus more on static camera angles.

@@t.hussain921 True. It's like he got all of that out of his system and shed his old skin. He's still very playful though, he hasn't lost that. There is a great long shot in Phantom Thread, when Reynolds arrives at the NYE party. It doesn't strike you at first though and that shows, I guess, how well the shot suits the story at that point.

It isn't a kinetic, moving shot like this one, but that scene in Hunger is amazing because the performances are mesmerizing!

Utterly agree - And there are a lot of great movies - but ... this one... Sheesh. It's incredible. A modern-day parable in the best sense of the word.

@@fgbowen Caveats aside, the film is balls out confident and that's why I love it. His 3rd feature and his first after Oscar nominations. He could have played it safe, but he seemed to just think 'f**k that, let's go for it!'. Intentions are one thing, but he pretty much delivered what he set out to make. The only downside is Anderson couldn't play out the story of the Worm and the little rapping kid. There was to be a scene after the kid finds Linda Partridge in her car where he meets Stanley, for example. The kid and The Worm were also supposed to be driving by Donny and Jim after the shower of frogs and it was they who threw Jim's missing handgun back to him.

yes - and I like the way he follows all the different people - turning - following - ... like passing the ball. For sure.

A little bit Kubrick, a little bit Scorsese, a touch of Robert Downey Snr here, a touch of Altman there. He's all those guys and he's not afraid to admit it, which I admire.

@@davidlean1060 He's also brilliant. Wrote this entire script on his own and it was 200 pages. Had to cut it down