I am seeing Paul Thomas Anderson‘s The Master tomorrow morning — a little less than ten hours from the posting of this article — and I simply cannot wait.
I’ve avoided early reviews and reactions as much as I possibly can and am tingling at the hope I see something truly great. Something that adds a new layer to this year’s film landscape.
After seeing Silver Linings Playbook I am hoping for a film that challenges me as much as that film entertained and moved me. Cloud Atlas was so far Toronto’s most challenging feature (that I’ve seen), but that was challenging from a filmmaking perspective and not so much on a story-telling level. From PTA I want more. Too much to ask?
Tonight I have a new clip from the film, promoting an upcoming screening at New York’s Ziegfield Theatre and it features a moment that began the footage I saw at Cannes earlier this year when I wrote:
[O]ne shot in particular is a long dolly shot, rolling in closer and closer to Freddie as he approaches a bulletin board. He stops and begins writing on a piece of paper, finishes and heads back down the hallway, the way he came, as the camera continues dollying forward and past what he’s written. “Gone to China.”
Give it a watch below.
