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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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| Giant | The Night of the Hunter | 1900 | The Kite Runner | Munich |
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I'm going to argue against celebrating this movie.
It isn't because it is not effective. It is. It is extremely honed so that every horse is hitched to the same plow, so that power is achieved.
It isn't because we don't marvel at the actorly gymnastics of Day Lewis. Its because it doesn't matter. I will truly forget this film in the sense that none of it will change me, indirectly lead me somewhere or trick me into some discovery. In preparation for this, I saw "Siberiade," another oildrilling epic where kinship is central and the drive to the earth is a retreat.
(The "blood" in the title is associated with family, not weeping veins.)
Elements of that Soviet film will stick with me forever, though the film has less explosive emotion. (It does have a far more dramatic oilrig fire real instead of from ILM. And it has teasingly seductive songs, not the edgy, spineraising tension of here.)
The one element that should have grabbed me was undeveloped. Here is a man who we see is broken. There are no events to follow. He becomes a success and remains broken. The only story for us to seek is why. We know he had peculiar feelings for his sister and left home traumatically. That he prefers isolation of the most remote kind. That given any opening for bond, for blood: HW, the discovered brother, the child Mary, he will grab it with both hands and look for disappointment.
We know going in that the business of twins appeared only late, but it could have been central to this mystery of sucking and discarding both blood and oil. I really thought Anderson would exploit this ambiguity of identity. After all, he's made one and a half of the very best films which explores this. Films that are multilayered and reach out and penetrate instead of a barrelling locomotive.
So.
I would ask you to differentiate. First differentiate rubbernecking over a disaster from exploring and knowing a dangerous situation. Second, differentiate masterful storytelling from stories that have their own lives and catch fire in your heart.
Ted's Evaluation -- 2 of 3: Has some interesting elements.