Movie magnolia soundtrack
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The Master is the clear stylistic reference for "Hot Knife," echoing Anderson’s wild experiments with light and portraiture. But a few shots later, when Anderson splits the frame into a symmetrical triptych, the complete image doesn’t resemble silent film so much as it does the old-timey portraits that Freddie photographs of mall patrons as he tries to find a sense of purposing following his return from WWII. Anderson ups the contrast even further by jumping in and out of a hard monochrome, placing Apple’s emoting on a plane alongside Renée Jeanne Falconetti in The Passion of Joan of Arc. The dramatic chiaroscuro shadows define every minuscule line on her lips as she sings and capture every strain of the muscles in her neck as her lyrical round keeps up with itself. That level of attention to detail goes from impressive to absolutely essential when Anderson introduces Apple’s indelible face to the frame. Anderson prioritizes detail above all else, ensuring that the camera or the audience won’t overlook the tiniest nuance of the image onscreen. His camera’s focus emphasizes the distance between the rim of the timpani to the soft head of the mallet to the sticks in Apple’s hands-a feat no less impressive than the staggering, painterly shot of Phoenix’s Navy man Freddie Quell lying indifferently atop a warship while his brothers-in-arms bustle about below. Employing the same crisp photography that captured every line on The Master star Joaquin Phoenix’s war-hardened scowl, Anderson captures the many planes of focus on this simple object. The video begins with the sound of mallets on timpani, and then a slow pan upwards reveals just that to the viewer. The "Hot Knife" video officially surfaced on the Internet on July 24, 2013, nearly a year after Anderson’s The Master made its world debut, and yet the influence of the film on Apple’s clip is unmistakable. In the divide between the expressive lighting of “Hot Knife” and the rambling walk through New York that is "Sapokanikan," audiences see an artist learning to do more with less and less. "Hot Knife" and "Sapokanikan" look and feel like miniature offshoots of the films that Anderson was working on around the times of their productions. (Perhaps it’s no coincidence that Newsom acted as Inherent Vice’s narrator.) Apple’s 2013 “Hot Knife” clip and Joanna Newsom's “Sapokanikan,” released earlier this year, microcosmically illustrate the massive stylistic jump Anderson made from The Master’s towering intensity to the looser, more freewheeling attitude of Inherent Vice two years later. But just as "Try" succinctly encapsulated the influence-heavy stage of Anderson’s artistic development, two more recent videos act as signposts on the road of the director’s creative evolution. (The sorely missed Philip Seymour Hoffman even cameos twice as a boom operator, alluding to his role as closeted soundman Scotty in Boogie Nights.) He applied the same aesthetic that he had developed for his sophomore film, as well as its follow-up Magnolia (1999), to Penn’s video, jacking his idol Martin Scorsese’s freely flowing kineticism to synthesize his own kind of cinematic thrill.Īnderson directed a handful of other music videos during the early 2000’s, many of them for his Magnolia soundtrack collaborator Aimee Mann and his then-lover Fiona Apple. He had already completed his debut feature Hard Eight (1996) and begun production on his magnum opus Boogie Nights (1997) when Anderson agreed to shoot a clip to accompany Michael Penn's single “Try.” In his spare time during Hard Eight's editing process, Anderson mapped out a characteristically elaborate one-take shot for Penn's music video that follows the singer up and down the longest hallway in the United States, and then shot it using the equipment from set. Paul Thomas Anderson has never been interested in traditional routes. For many, it’s a means of demonstrating their competence behind the camera for potential future studio heads.
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Plenty of filmmakers have gotten their start in music videos.