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Directed by | |||
| Paul Thomas Anderson | |||
Writing credits(WGA) | ||
| Paul Thomas Anderson | (screenplay) | |
| Upton Sinclair | (novel "Oil!") | |
Original Music by | |||
| Jonny Greenwood | |||
Cinematography by | |||
| Robert Elswit | (director of photography) | ||
Film Editing by | |||
| Dylan Tichenor | |||
Casting by | |||
| Cassandra Kulukundis | |||
Production Design by | |||
| Jack Fisk | |||
Art Direction by | |||
| David Crank | |||
Set Decoration by | |||
| Jim Erickson | |||
Costume Design by | |||
| Mark Bridges | |||
Makeup Department | |||
| Kim Ayers | .... | makeup artist: Los Angeles (as Kimberly Ayers) | |
| John Blake | .... | makeup department head | |
| Catherine Conrad | .... | makeup artist | |
| Lupe Devine | .... | hair stylist | |
| Sharon Ray Ely | .... | hair stylist (as Sharon Ely) | |
| Linda D. Flowers | .... | hair department head (as Linda Flowers) | |
| Yesim 'Shimmy' Osman | .... | key hair stylist: Los Angeles | |
| David Larson | .... | hair stylist: Los Angeles (uncredited) | |
Production Management | |||
| Erica Frauman | .... | post-production supervisor | |
| Jamey Pryde | .... | post-production supervisor | |
| Will Weiske | .... | production supervisor | |
Second Unit Director or Assistant Director | |||
| Eric Richard Lasko | .... | second assistant director (as Eric Lasko) | |
| Jenny Nolan | .... | second second assistant director | |
| Richard Oswald | .... | second assistant director | |
| Adam Somner | .... | first assistant director | |
| Ian Stone | .... | second assistant director: Los Angeles | |
| Jeff Habberstad | .... | second unit director (uncredited) | |
Art Department | |||
| Keith Alexander | .... | propmaker | |
| Steve Allen | .... | propmaker foreperson | |
| Richard 'Frog' Bain | .... | propmaker | |
| Craig Baron | .... | property assistant | |
| Brad Blei | .... | set dresser | |
| Glen Bohls | .... | laborer | |
| Mark 'Finn' Borg | .... | welder | |
| Lewis Bowen | .... | paint foreperson | |
| David Bringas | .... | propmaker supervisor | |
| Robert Brown | .... | propmaker | |
| Ryan Bust | .... | stand-by greens | |
| Marco A. Campos | .... | propmaker supervisor (as Marco Campos) | |
| Bridget Cardenas | .... | stand-by painter: Los Angeles | |
| Raul Carrera | .... | greens | |
| Michael Casey | .... | set dresser: Los Angeles (as Michael P. Casey) | |
| Dirk Clark | .... | propmaker | |
| Darrin Clubb | .... | foreman | |
| Jack Colmenero | .... | set dresser | |
| Ronald Cox | .... | propmaker supervisor | |
| Laurence B. Davis | .... | propmaker | |
| Ruth De Jong | .... | art department production assistant | |
| Jeffrey DeBell | .... | greens foreperson (as Jeff DeBell) | |
| Patricia Dillon | .... | set dresser | |
| Derek Drewes | .... | propmaker (as Derek Drews) | |
| Jerry Farrell | .... | propmaker | |
| Tony Farrell | .... | propmaker | |
| Christopher Flournoy | .... | propmaker | |
| Neil Gahm | .... | propmaker supervisor | |
| Franco Georgianna | .... | propmaker | |
| Keith Giller | .... | set dresser: Los Angeles | |
| Sara Giustini | .... | art department production assistant | |
| Billy Guerrero | .... | painter (as Billy Guerro) | |
| Archie Hankins | .... | carpenter | |
| Mark Hanks | .... | set dresser | |
| Claire Hassig | .... | scenic artist | |
| Kenneth Heimer | .... | propmaker | |
| Jourdan Henderson | .... | art department coordinator | |
| Eric Henshaw | .... | first greens | |
| Clint Higginbotham | .... | propmaker | |
| Allan Holder | .... | propmaker (as Allen Holder) | |
| Bill Holmquist | .... | construction coordinator | |
| Steven Curtis Husch | .... | assistant property master (as Steven C. Husch) | |
| Peter Jameson | .... | construction mill foreman | |
| Dean F. Janik | .... | paint foreperson | |
| Steven Kerlagon | .... | paint supervisor | |
| Jerry Kilber | .... | propmaker foreperson | |
| Garry Kirks | .... | propmaker | |
| Jim Krase | .... | propmaker | |
| Andree Lago | .... | scenic artist | |
| Peter J. Lakoff | .... | set dresser: Los Angeles (as Peter Lakoff) | |
| Amy Lamendola | .... | production assistant: Los Angeles | |
| David Lawrence | .... | paint laborer | |
| Eric Luling | .... | on-set dresser | |
| P.K. MacCarthy | .... | storyboard artist | |
| Douglas Machala | .... | leadperson: Los Angeles | |
| Michael C. Magno | .... | set dresser: Los Angeles | |
| Chandra Malone | .... | propmaker | |
| Patrick J. Martin | .... | propmaker supervisor | |
| Walt Mikolwski | .... | construction foreperson (as Walter Mikowlski) | |
| John W. Morgan | .... | scenic painter | |
| Matthew Murphy | .... | set dresser: Los Angeles (as Matt Murphy) | |
| Tyler Noel | .... | laborer | |
| Natalie Palasota | .... | set dresser: Los Angeles | |
| Anthony D. Parrillo | .... | set designer: Los Angeles (as Anthony D. Parillo) | |
| Pavel Pesta | .... | scenic artist | |
| Steve Pfauter | .... | set dresser: Los Angeles | |
| Stuart Rankine | .... | property master | |
| Jack Reeves | .... | stand-by painter | |
| Jeffrey A. Rice | .... | laborer | |
| Michael Riviere | .... | propmaker (as Mickey Riviere) | |
| David Rodriguez | .... | laborer | |
| Steve Roll | .... | propmaker foreperson (as Stephen Roll) | |
| Kyle Safarick | .... | propmaker | |
| Steve Sawhill | .... | leadperson | |
| Charles Seale | .... | propmaker | |
| Chad Simpson | .... | general paint foreperson (as Chad 'Chadwick' Simpson) | |
| Vaughn Rick Smith | .... | propmaker | |
| Michael Smothers | .... | laborer | |
| Robin Spoon | .... | paint coordinator | |
| Jason W. Spradling | .... | propmaker | |
| Carl J. Stensel | .... | set designer (as Carl Stensel) | |
| William Sterling | .... | propmaker | |
| Bobby Thomas | .... | additional assistant property master | |
| Kevin Tomasiello | .... | laborer | |
| John E. Townes | .... | paint laborer | |
| Alex Walker | .... | set dresser: Los Angeles | |
| Leon Wallace | .... | painter | |
| Robert K. Weinberger | .... | propmaker foreperson (as Robert Weinberger) | |
| Amy Wells | .... | assistant set decorator: Los Angeles | |
| Bradly V. Williams | .... | laborer | |
| Don Williams | .... | propmaker | |
| Raul V. Carrera | .... | greens foreman (uncredited) | |
| Michael Goss | .... | labor (uncredited) | |
Special Effects by | |||
| David Blitstein | .... | special effects set foreman | |
| Steve Cremin | .... | special effects coordinator | |
| Christian Eubank | .... | special effects technician (as Christian F. Eubank) | |
| Jay King | .... | special effects technician (as Jay B. King) | |
| William D. Lee | .... | special effects foreman (as William Lee) | |
| Lee McConnell | .... | special effects rigging foreman (as Lee Alan McConnell) | |
| Brandon K. McLaughlin | .... | special effects technician (as Brandon McLaughlin) | |
| Glenn Thomas | .... | special effects technician | |
| Dennis Yeager II | .... | special effects technician | |
| Douglas D. Ziegler | .... | special effects technician (as Douglas Ziegler) | |
Visual Effects by | |||
| Joy Carmeci | .... | visual effects producer: ILM (as Joy Carmecy) | |
| Mark Casey | .... | digital effects artist | |
| John G. Chalfant | .... | CG support | |
| Grady Cofer | .... | visual effects supervisor: ILM | |
| Amit Dhawal | .... | digital artist: Digital Backlot | |
| Christina Graff | .... | visual effects producer | |
| Paul Graff | .... | visual effects supervisor: Digital Backlot | |
| Susan Greenhow | .... | visual effects producer | |
| Sarah Brooke Grossmann | .... | compositor: Digital Backlot (as Sarah Grossman) | |
| Elizabeth Hirsch | .... | visual effects production manager: Digital Backlot | |
| Michael Honrada | .... | digital effects artist | |
| Llyr Tobias Johansen | .... | production assistant | |
| Sam Khorshid | .... | lead cgi artist: Digital Backlot (as Samir Khorshid) | |
| Erin D. O'Connor | .... | visual effects coordinator: ILM (as Erin O'Connor) | |
| Ari Sachter-Zeltzer | .... | 3D artist: Digital Backlot | |
| Gregory S. Scribner | .... | compositor: Digital Backlot | |
| Robert Stromberg | .... | visual effects designer | |
| Chad Taylor | .... | digital artist | |
| David Washburn | .... | digital artist: ILM | |
| Adam Watkins | .... | computer graphics supervisor: Digital Backlot | |
Stunts | |||
| Brian Avery | .... | stunt performer | |
| Jeff Habberstad | .... | stunt coordinator | |
| Ryan Happy | .... | stunt performer | |
| Keii Johnston | .... | stunt performer | |
| Mike Justus | .... | stunt performer | |
| Jay King | .... | stunt performer (as Jay B. King) | |
| Shawn Lane | .... | stunt performer | |
| Frank Lloyd | .... | stunt performer | |
| Jake Lombard | .... | stunt rigging coordinator | |
| Mark Munoz | .... | stunt performer | |
| Denney Pierce | .... | stunt performer | |
| Myke Schwartz | .... | stunt coordinator | |
| Larry M. Shorts | .... | stunt performer (as Larry Shorts) | |
| Paul Sklar | .... | stunt performer | |
| Scott Sproule | .... | stunt performer | |
| Sean Graham | .... | stunts (uncredited) | |
Casting Department | |||
| Sande Alessi | .... | extras casting | |
| Kristan Berona | .... | extras casting | |
| Toni Cobb Brock | .... | location casting | |
| Barbara Harris | .... | adr voice casting | |
| Sally Allen | .... | location casting associate (uncredited) | |
| John Barba | .... | casting associate (uncredited) | |
| Annie Hedgpeth | .... | location casting associate (uncredited) | |
Costume and Wardrobe Department | |||
| Kimberly Adams-Galligan | .... | assistant costume designer (as Kimberly Adams) | |
| Eden Clark Coblenz | .... | costume supervisor (as Eden Coblenz) | |
| Elizabeth Galindo | .... | costume intern | |
| Brad Holtzman | .... | on-set costumer | |
| Kathy Kiatta | .... | key costumer (as Kathleen Kiatta) | |
| Elspeth Lauder Mickel | .... | seamstress (as Elspeth Lauder) | |
| Natasha Paczkowski | .... | costume manufacturing foreperson | |
| Andrew Slyder | .... | on-set costumer: Los Angeles | |
| Stephanie A. Steel | .... | on-set costumer | |
| Michelle Elaine Teague | .... | costumer (as Michelle Teague) | |
| Maria Tortu | .... | assistant costume designer: Los Angeles (as Maria K. Tortu) | |
| Catherine Wall | .... | cutter/fitter | |
| Yvonne Wilburn | .... | costumer | |
Editorial Department | |||
| Kenny Becker | .... | color timer | |
| John Campuzano | .... | digital opticals coordinator | |
| Gregg Garvin | .... | colorist | |
| Paula Greatbatch | .... | first assistant editor: film (as Paula Suhy) | |
| Peter McNulty | .... | additional editor | |
| Heather Mullen | .... | dailies assistant editor | |
| Mary Nelson-Duerrstein | .... | negative cutter (as Mary Nelson-Fraser) | |
| Tatiana S. Riegel | .... | second editor | |
| Brendan Walsh | .... | second assistant editor | |
| Lonnie A. Mathes | .... | post-production assistant (uncredited) | |
| Tristan Mathews | .... | post-production assistant (uncredited) | |
Music Department | |||
| Fiona Bonds | .... | musician: viola | |
| Martin Burgess | .... | musician: violin | |
| Linda Cohen | .... | music supervisor | |
| Caroline Dale | .... | musician: cello | |
| Michael Dussek | .... | musician: piano | |
| Clare Hayes | .... | musician: violin | |
| Lewis Jones | .... | assistant music engineer | |
| Andy Kitchen | .... | assistant scoring engineer | |
| Paul Rabjohns | .... | music editor | |
| Simon Rhodes | .... | score recordist | |
| William Schofield | .... | musician: cello | |
| Graeme Stewart | .... | music engineer: additional score | |
| Graeme Stewart | .... | score mixer: additional score | |
| Graeme Stewart | .... | score recordist: additional score | |
| Rudolf Werthen | .... | conductor | |
| Robert Ziegler | .... | conductor | |
Thanks | |||
| Robert Altman | .... | dedicatee | |
| Gary Bolen | .... | thanks | |
| Mark Graziano | .... | special thanks | |
| Richard Grigsby | .... | thanks | |
| David Lanman | .... | thanks (as Mayor David Lanman of Marfa TX) | |
| Betty MacGuire | .... | thanks | |
| Sam Rinehart | .... | thanks | |
| Troy Rinehart | .... | thanks | |
| Dale Rittenhouse | .... | thanks | |
| Tom Sherak | .... | thanks | |
| Roy Williams | .... | thanks | |
| Gil Wilson | .... | thanks | |
| Brendon Woodtaylor | .... | thanks | |
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| Full cast and crew | Company credits | External reviews |
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People did not like this movie for a simple reason: too negative. I can understand that this movie is so depressing in so may ways.
What it shows that Big Fish eats Litte Fish and none of us want to think about that anymore than most of us experience it in our daily life. It shows the battle between the evangelicals and the corporate business man. Or maybe even the battle between evangelicals of today and the non-religious people or atheists of today. Even worse is that this movie shows that religious people, priests are or can be as bad as a corrupt oil man. Maybe why people did not like this movie is because it might have offended them. Especially Paul Dano playing the priest. Both Daniel Day Lewis and Paul Dano are wrong and too extreme on their opinions. People are able to accept this. What people cannot accept is though that these same extremities and same misguided opinions from both characters are very much true in that they are heavily believed still today. Not all Christains are like Paul Dano's character and not all business man are like Daniel Day Lewis's character but many are like them. That is the world we live in.
Now is their any alternative or positive side? The answer is yes and that is H.W. the son of Daniel Plainview(Daniel Day Lewis). He epitomizes hope. He shows that despite being deaf and having a father who uses him as a ploy for better business he can still break free of the chains that he is being tied down by. What separates H.W. from the residents and evangelists of Little Boston? The difference is that he and his father are educated and they are not. That is how Daniel Plainview is able to manipulate and cheat them the Sunday family, even Eli Sunday(Paul Dano) the priest and preacher of Little Boston. From what H.W. sees and experiences he sees that much of what is around him is just wrong. He uses his experience that he had gained as a kid to break free of the corruption and chaos that could have taken over him. That is one aspect of the education I'am talking about: our experiences and understanding of what is happening around us.
Now to get to the technical aspects of There Will Be Blood. It is just truly spectacular in every way. First off the acting was amazing. Daniel Day Lewis gave arguably the best performance of his career playing Daniel Plaiview or ever since movies began to be made. He freaked me out and probably shocked many people. His thirst for power and money was at such a high level that it made me wonder about what people are really capable of. The deceiving, the greed, the thirst for power and the every man for himself attitude actually looked more real than ever to me. Without Daniel Day Lewis I don't think this movie could have achieved what it has. Paul Dano gave a great performance as Eli Sunday though people tend to disagree. I think he gave a great portrayal of an extremist evangelical priest of how he himself had his own thirst for power and how he was more blasphemous then respectful and gracious to god then how you would expect a priest to be. How could people not be shocked by these two characters, I was myself.
Why was the music for this movie not liked. I thought this was among the top five musical scores I have ever heard. The music perfectly gave you the feeling of the corruption and deception setting into the movie. It perfectly intertwined with the rest of the movie as the movie itself was ever growingly becoming more and more chaotic and surreal. Probably too shocking though.
Paul Thomas Anderson I believe gave the best directing job of the year. He was able to show the oil fields and its processes, the rise of an oil man, the way everyone can be bought even a priest and the hope that H.W. represented. This movie was never boring and it was as stunning of a directing job as Daniel Day Lewis gave as a performance for his role in this movie. The intensity of this movie was as high as a movie could possibly be and some of the credit for this has to go to the director. The cinematography and the music seemed to intertwine perfectly like the rest of the movie. It gave the sense of the time period and as said before the greed, deception, etc. The cinematography did not just give you a negative feeling but a feeling as if what you are watching is real.
You should not like this movie just because of the great technical achievements as you should not for any movie but for what it says and how it says it. I'm not even sure if you should enjoy this movie in general but you should not be blinded by your opinions. I applaud you whoever out there who can somewhat understand this movie and get past the lying and deceiving we do to ourselves. This movie really shows the humanity of human beings. Why is this rated-R?It has so many intense scenes that if you get inside this movie it is truly haunting. Now maybe this movie was too powerful for many people, it was probably even shocking for realists. Maybe though its not that surprising that so many people don't like this movie because the truth hurts. Not the truth about corruption or about people but the truth about ourselves.