PAUL THOMAS ANDERSON ON LIFE IN THE VALLEY AND FINDING LAUGHS
Paul Thomas Anderson woke early on the morning of Oscar nominations. He rises before dawn more often than not, but this morning had an unusual wrinkle. His phone wouldn’t stop ringing. There was news, and it was good. Anderson’s latest film, “Phantom Thread,” a lush, romantic chamber piece focused on the shifting dynamics between Reynolds Woodcock, a temperamental fashion designer, and Alma, the woman who begins the story as his muse, had earned six nominations, including best picture and director. ¶ As Anderson’s children — three daughters and a son, ages 12, 8, 6, and 4 — stirred and made their way to the kitchen table, Anderson poured four bowls of cereal, sat down and said, “Guys, guess what film got six Oscar nominations?” There was a pause. Then Minnie, the youngest, asked, “Can I have a spoon?” ¶ “I thought, ‘I really should share it with them. Maybe they’re going to think this is really cool,’ ” Anderson says, laughing. “And it landed like a … thud. ¶ “Then I felt really terrible in reverse, thinking, ‘I spend all this time telling them awards don’t matter. You gotta do it for the love of it.’ And then trying to brag about the number of Oscar nominations Daddy got? Who cares?” ¶ To be clear, Anderson does care. For one thing, the Oscar nominations secured a few more weeks in theaters for “Phantom Thread,” his most commercially successful movie since his last best picture nominee, “There Will Be Blood,” which also starred Daniel Day-Lewis. ¶ And after spending a lifetime feeling guilty about success, the 47-year-old filmmaker said he’s learned to enjoy the moment. ¶ “It must be an upbringing thing: ‘Don’t let your feet get off the ground,’ ” Anderson said, sitting around the kitchen table of the Encino ranch house that has served as “Phantom Thread’s” post-production center the last few months. “But you get to a point where you think, ‘Walk above the ground for a couple of steps. It’s OK. You’ll be right back to earth.’ ” ¶ It’s National Pizza Day and Anderson has a couple of hours before he’s expected back at the Tarzana home he shares with his wife, actress Maya Rudolph, and those unimpressed kids. He brewed up a couple of Americanos and we got to talking.
Here we are again. Same as it ever was. Have you ever thought about leaving the Valley?
I did for a minute. When I would get itchy after high school, I dipped my toe going back East briefly, but gravity and instinct kept bringing me back here. I even tried a time in Santa Monica for a couple of months. I thought: “What am I doing here? What’s that smell? Fresh air? I’ve got to get back to the smog.” [Laughs]
You mentioned “gravity and instinct.” What else keeps you here?
I’m a creature of habit. But it’s a good habit. I’m very comfortable. My family’s here. Everybody’s nearby.
Listen, I’m aware of its shortcomings. I know it’s not the prettiest place to live in Los Angeles. But it’s home! And that just becomes the thing you love. I could spend my whole life here — I’m in the middle of spending my whole life here. And there’s still more to see, more nooks and crannies, more places to go. My memories are strong here and I like seeing my kids have memories here as well.
I noticed on the refrigerator you had a printout titled “Princess Margaret’s morning routine is something we should all aspire to.” Breakfast in bed at 9. An hour in the bath at 11. What is that about? That is so not you.
[Laughs] No. My favorite thing in the world is to fall asleep by 8:30, 9 because it usually means I can get up between 4:30 and 5:30. I love that quiet time in the morning. The air is clean. You can step outside, have a little coffee and watch the light come up.
Do you get some writing done then?
If I’m writing, yes. But usually it’s a couple hours of reading. I don’t know if you have this, but I still have a thing that feels guilty about reading a book in the middle of the day — which is nuts. Somehow it feels decadent, even though it’s part of my job almost. You still feel naughty.
The good thing about that kind of schedule is: I burn out writing after lunch. Nothing really good happens after lunch.
You often use the word “daydreaming” when describing your writing process. I think we could all use a little more daydreaming built into our days.
[Thomas] Pynchon was part of this thing where writers looked at the seven deadly sins. He took sloth, and brought it back to how important sloth is [laughs], that as a writer, you cannot minimize the importance of laying on the couch and watching television — bad television, preferably.
The other thing I go by: When writing ain’t working, research. When research ain’t working, sleep. Getting away is so valuable. I didn’t know that for years and years. I used to bang my head against the wall, trying to fix a problem. No one ever grabbed me by the shoulder and said, “Maybe you should go for a walk.”
The second time I saw “Phantom Thread,” my wife was with me. And the humor came through even more. I’m laughing and laughing. The next morning, my wife was like, “You really thought Woodcock was funny.” Almost accusatory. But your movies are like that. Repeat viewings bring out the comedy.
That’s true. The biggest example is “There Will Be Blood.” Daniel’s such a strong presence and so intimidating. He’s not giving you an inch to let you know you can laugh. In some ways, his performance is such a high-wire act that you think, “He may jump through the screen and strangle me if I make a sound.” But I find the same thing about Bill the Butcher. And Charles Laughton could do that too — these incredible high-wire performances that are just on the edge of gigantic. I’m a sucker for that. That’s what I want to see when I go to the movies.
But the first time around, taking it all in can be confusing and intimidating.
Two different tones at once, yeah. But then repeat viewings, the humor is found, which makes me happy. [Pause] Maybe I should struggle to establish it a little earlier on. Maybe a disclaimer: “It is OK to laugh during the course of this film.”
“The Master” is like that too — epic performances, great humor. That’s your favorite, isn’t it?
For sure. I think that won’t change. The amount of emotion I put into it and they put into it — they being Phil [Seymour Hoffman], Joaquin [Phoenix] and Amy [Adams]. I’m not sure it’s entirely successful. But that’s fine with me. It feels right. It feels unique to me. I really hope it will be something people can revisit and enjoy in a way that equals my pride in it. And of course, there’s a particular sentimentality attached to it for a number of personal reasons. It’s all wrapped up.
And now you’re angling to work with another giant, Tiffany Haddish. She’s a force too.
‘I’ve always gravitated toward comedic actors to work with … hell, to live with … to be friends with. And there’s a reason. Who wants to be around serious people?’
She’s a really thrilling performer. It’s the same way I felt when I saw Adam [Sandler] — there’s so much there. Don’t just be fooled by how funny she is. She just has a fierceness. I think I feel a connection to her because she’s such an L.A. kid as well. It feels like I’ve known her for a long time, which is weird. I’ve talked to her on the telephone. I’ve never even met her.
She and Maya would make a terrific pair.
Absolutely! That’s a combustible combination, the two of them. That’s what you dream of as a director. Because you know if you just get your … together and you’re simple and you create a platform, why do you think people look good when they work with Daniel Day-Lewis? Because it’s Daniel Day-Lewis! Writing for them, I feel like you could turn on the faucet and that’ll come out. That would be a great team.
That was an interesting photo you posted of you and Maya on your #AskPTA Twitter session.
I didn’t post that! Somebody showed it to me! I mean, God, that was horrifying … but hilarious, actually. I remember seeing that, thinking, “Wow. There’s no way we could look like that, is there?”
Another reason not to leave the Valley!
Yes! Don’t go to Beverly Hills! Idiot!
That photo seems to have sparked something, though. There was a recent story calling you two celebrity royalty.
Maya told me about that, but I haven’t seen it yet. That makes me quite nervous.
Let me see if I got the wording right: “Maya Rudolph and Paul Thomas Anderson are the greatest celebrity couple.”
Since Nick Lachey and Jessica Simpson? Oh, my Lord. How did I pull that out?
I guess you could say your union goes back to your appreciation of a good laugh.
All the movies I love have big laughs in them. “The Treasure of Sierra Madre” is one of my favorite movies. Nobody considers that a comedy, but take a look at those absurd situations that highlight human nature. They’re fantastic. I’ve always gravitated toward comedic actors to work with … hell, to live with … to be friends with. Who wants to be around serious people? Is there anything more boring than a serious person?
My wife has a sense of humor. Except when she’s watching “Phantom Thread.”
Then, it’s: What are you laughing at? [Laughs]
It’s a good movie to watch as a couple, as long as you’re in a relatively good place.
Otherwise it could be a long car ride home. You’d be surprised. It’s a 50-50 split, people coming up to me and saying that the woman is filling the Reynolds Woodcock role. Usually, they’re relating it to breakfast scenarios where someone’s too noisy.
I loved the story that Christopher Nolan took his kids to see “Phantom Thread” and they started calling him Woodcock.
It becomes a thing. Even around my house, it’s a good way to let somebody know that they’re getting a little itchy and fussy. “Cool out, Woodcock.” Maya will do that. “All right, Woodcock.” But it works in reverse as well,. I can use it on her. It’s a nice reminder not to take yourself so seriously.
I heard a story where your son saw you cutting some “Phantom Thread” spots, noticed the R rating and protested, “Aaaaw … c’mon!”
Did I say that? That’s true.
He’s waiting for you to make your kidfriendly movie.
Well, I’m working right now on a story with my daughter Lucy. She’s 8. She has taken it upon herself, realizing that if I wasn’t going to do it, she would do it with me. It’s a good collaboration too. It keeps you on your toes. I was trying to guide the story to something a little bit darker, and she was very sweetly reminding me I was aiming it that way and brought it back. We had a good run at it and took a break. We’ve got to get back to it.
Is it like the Von Trapp family around your house?
There’s a scene in “You Can’t Take It with You” where a woman enters and there’s 50 different family members all banging away on different things in different parts of the house. It’s a little like that. This one’s banging on the piano. This one’s banging on the drum. This one’s singing. It’s very chaotic.
They’ve been doing beautiful fashion shows for me because they think I like them because of the film. Essentially, they just come out with something from their wardrobe and then they run back in and put something else on and come out.
An unintended consequence that’s just the best thing ever.