EXCLUSIVE: VEEP star Timothy Simons is joining Joaquin Phoenix, Reese Witherspoon, Owen Wilson, Josh Brolin, Martin Short, Katherine Waterston and Jena Malone in Paul Thomas Anderson‘s Inherent Vice, an adaptation of Thomas Pynchon’s 2009 detective novel. Shooting is underway for the Warner Bros pic with Anderson producing through his Ghoulardi Film Company along with JoAnne Sellar and Daniel Lupi. Simons is certainly busy. He’s also taken on a role in Ivan Reitman’s Draft Day and a supporting turn in the Bobby Castrone indie comedy, Flock Of Dudes before he returns to shooting the third season of the Emmy-nominated HBO show VEEP. Simons is repped by UTA, Untitled, and Derek Kroeger at Felker Toczek.
EXCLUSIVE: In a real coup for a young actress, Katherine Waterston has landed a lead female role in the Paul Thomas Anderson-directed adaptation of the Thomas Pynchon novel Inherent Vice. I’ve heard she’ll play Shasta, the ex-girlfriend of Joaquin Phoenix’s character, Doc. She is a free-spirited hippie chick who turns straight for real estate mogul Mickey Wolfmann. Doc’s main task is, at first, to help Shasta Fay protect Wolfmann, her current love, from his wife and her lover. She joins Phoenix, Reese Witherspoon, Owen Wilson, Josh Brolin, Martin Short, and Jena Malone, with Sean Penn reportedly eyeing a role as well. The film shoots this summer for Warner Bros, and PTA is producing through his Ghoulardi Film Co. along with JoAnne Sellar and Daniel Lupi.
Paul Thomas Anderson is a genuine auteur, a writer/director who works when he wants, makes what he wants, and is considered now to be one of the film industry’s true talents. His list of films is small but significant: Hard Eight, Boogie Nights, and Magnolia to Punch Drunk Love, There Will Be Blood, and now The Master, just six films in 16 years but all winning wide critical acclaim. He has five Oscar nominations, mostly for screenplay, but he did score his first directing nod for There Will Be Blood. He hopes to continue the trend with The Master, though the film has polarized audiences, something that surprised Anderson but doesn’t necessarily disappoint him. How that translates into awards is anyone’s guess, but don’t say Paul Thomas Anderson is making movies you can easily dismiss.
AwardsLine: There have wildly different reactions to the movie. Is that something that you wanted?
Paul Thomas Anderson: It’s really interesting; it’s not something I expected. The final stretch of finishing a film, you find yourself in a kind of hypnosis that you made something that you understand and therefore everyone else will understand. And it’s an insane assumption, but it happens. And it’s temporary. I’m always surprised by the reactions, but this one in particular seems to have a real interesting messiness about people’s responses. I suppose the worst thing in the world would be pure ambivalence, and to have any attention paid to you is nice. Even if it’s negative.
The competition section of the Venice Film Festival just got a jolt. The festival has confirmed what Deadline reported last week, that added Paul Thomas Anderson’s sure to be controversial film The Master has joined the competition slate. The …
Here is the new theatrical trailer for Paul Thomas Anderson’s The Master. Philip Seymour Hoffman plays the charismatic central figure of the movie, which some have suggested is a thinly veiled take on Scientology but Anderson has said it is definitely not. Amy Adams and Joaquin Phoenix co-star in …
Another piece of this year’s Oscar movie puzzle was unveiled in a big way this weekend when Paramount rolled out Martin Scorsese’s 99.9%-finished version of Hugo, an ode to the early days of cinema and the eye-popping possibilities of movies. It’s the director’s first family film, 3D film and perhaps most personal film. In an intriguing and highly unusual move, Paramount held a packed screening, with tons of invited press and bloggers included, at Regal’s Downtown LA Live theaters Saturday afternoon. Then that night they also played it at the Samuel Goldwyn Theatre in Beverly Hills for the Academy’s official membership screening. That last move was interesting because most films play either the weekend of opening or after for the Acad (although The Weinstein Co. unspooled their much-praised ode to the early days of cinema, The Artist, to an appreciative audience for its official Academy screening Sunday night).
It is extremely rare to show voters something that is still unfinished (one special effects shot was missing and the end credits are far from complete), but Hugo‘s media rollout has been different from the start. It was first unleashed in a much-less-finished form at the New York Film Festival last month as a “work in progress.” Reaction on the web was all over the place, generally favorable, but did not signal a major awards contender outside of the obvious technical nominations for the film’s stunning look. That screening in hindsight may have been a miscalculation.
This week, things began to heat up. Paramount had a couple of “tastemaker” screenings for AMPAS members a few days ago (one in the evening, one during lunchtime) where the median age range was said to be 60-plus — with 50 members reportedly at each. There were also reportedly 80 members who checked in for the Regal screening that was accompanied by a lively post-movie Q&A moderated by director Paul Thomas Anderson with Scorsese and his dream team of much-Oscared collaborators including DP Robert Richardson, production designer Dante Ferretti, editor Thelma Schoonmaker, composer Howard Shore and visual effects supervisor Rob Legato. Scorsese received an enthusiastic standing ovation when he was introduced, just as he did again today after a DGA screening for a Q&A moderated by James Cameron, who told him Hugo was a “masterpiece.” He added, “finally there is a Scorsese film I can take my kids to.” And Cameron also told Scorsese it was the best use of 3D he had seen, including his own films. At Saturday’s Regal Q&A, Legato actually credited the innovations in Avatar for making possible a lot of what Hugo was able to do. Musician Slash was among those also at the DGA screening and he later tweeted “Fantastic movie!”
EXCLUSIVE: Megan Ellison has won an auction for the rights to make at least two more installments of The Terminator franchise, with Fast Five’s Justin Lin attached to direct and Arnold Schwarzenegger attached to star. The deal came down to Ellison’s Annapurna Films and Lionsgate, which seemed to have had the project sewn up until she came forward with a dramatic bid. The auction at the time was for a guarantee for at least half of the $29.5 million paid by hedge fund Pacificor to pull the franchise out of bankruptcy. Unclear what the winning amount was, but I wouldn’t be surprised if it hit the $20 million mark. CAA brokered the deal.
Deadline revealed the two finalists in the auction on Wednesday, and I’m told that the deal closed late Thursday. Ellison, the daughter or Oracle founder Larry Ellison, and sister of Paramount-based Skydance producer/financier David Ellison, is winging her way to Cannes right now. She has a lot going on here.
EXCLUSIVE: The Weinstein Company has won a quiet but fevered bidding battle for worldwide distribution rights to the untitled next film by Paul Thomas Anderson. The film begins production June 13, with Philip Seymour Hoffman and Joaquin Phoenix so far set to star. Megan Ellison is financing. It is Anderson’s first trip behind the camera since There Will Be Blood.
Hoffman and Phoenix are locked. As for the actresses, I’m told that Anderson is eyeing such women as Madisen Beaty (The Curious Case of Benjamin Button) for a role, with Amy Adams, The Girl With the Dragon Tattoo‘s Lena Endre and Laura Dern also mentioned as actresses Anderson is interested in. The auction was held at CAA headquarters late last week, with Fox Searchlight also squarely in the mix.
This is the project that Anderson has worked on for a long time, once under the title The Master. He has greatly overhauled the script and now, Hoffman stars as a man who returns after witnessing the horrors of WWII and tries to rediscover who he is in post-war America. He creates a belief system, something that catches on with other lost souls. The film is fully financed by Ellison’s Annapurna banner. At a time when the implosion of the indie film marketplace made pricey auteur films so hard to finance, Ellison has emerged as something of a godsend to the small group of auteurs she is working with. She’s enabled Anderson to make the movie at or near the $35 million budget the film was going to cost back when Universal stepped away.