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Product Description
From Amazon
At three hours long, Paul Thomas Anderson's Magnolia qualifies as an epic, with a broad scope of characters whose lives become entwined over the course of a day in the San Fernando Valley. Despite its vast canvas, though, this is probably one of the most intimate epics you'll ever experience, because Anderson and his cast of actors delve into their characters so deeply that you feel you instantly know them. Anderson's screenplay of Magnolia is similar--a few pages in, you'll be hooked by the story and the characters. Numerous critics have derided Anderson's talents as a screenwriter while praising him to the skies as a director, but the screenplay for Magnolia shows a filmmaker at work with a keen eye for character development and a penchant for both brilliant monologues and amazingly deft one-liners. And unlike most published screenplays (which bill themselves as a "shooting script" but are in reality just a transcript of the finished product), this screenplay is truly the working script, complete with typos and scenes that didn't make it into the final cut of the film. Reading the screenplay, you'll see Tom Cruise's scenes with Jason Robards become more fleshed out, more scenes from Cruise's motivational workshop on "Seduce and Destroy," and most significantly, a subplot involving whiz kid Stanley Spector and the mysterious character known as "the Worm," who pops up only briefly in the film. Also included are some stunning color photographs and a great interview with Anderson, where you'll find out who gave him the idea of the rain of frogs, which character in the film is his favorite, and why he used a game-show milieu for a large part of the film. Truly a companion piece to the movie, a testament to the vision of a filmmaker, and, as Anderson puts it in his introduction, "an interesting study of a writer writing from his gut." --Mark Englehart
--This text refers to the
Hardcover
edition.
Book Description
The only companion book to the much-anticipated follow-up to Paul Thomas Anderson's critically hailed Boogie Nights that "leaves you no doubt you are in the presence of a natural-born filmmaker."--David Ansen, Newsweek. The much-heralded writer-director deliberately withheld information about his new film during production because "I feel lately as if I know everything about a movie before I see it, and I really want the audience to discover this purely." Featuring an ensemble cast (see below), in, in an unbilled role, Tom Cruise (who called Anderson to express interest in working with him), the film is now described as "a story about family relationships and bonds that have been broken and need to be mended in one day...set in the San Fernando Valley on a day full of rain with no clouds." Magnolia: The Illustrated Screenplay includes the complete shooting script, introduction and script notes by Anderson, a photo section with about 40 photos in color, and interview with the writer/director, and complete cast and crew credits.
The cast:
The Dying Father--Jason Robards
His Young Wife--Julianne Moore
The Caretaker--Philip Seymour Hoffman
The Boy Genius--Jeremy Blackman
His Father--Michael Bowen
The Game Show Host--Philip Baker Hall
The Daughter--Melora Walters
The Mother--Melinda Dillon
The Ex-Boy Genius--William H. Macy
The Police Officer in Love--John C. Reilly
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Most helpful customer reviews
5.0 out of 5 stars
Another special film from Paul Thomas Anderson,
By
This review is from: Magnolia (VHS Tape)
Even braver and deeper emotionally than Paul Thomas Anderson'swonderful 'Boogie Nights', and in some ways a more mature, if less blazingly dynamic work. Full of amazing shots, amazing performances. The epic, multi-layered film 'Short Cuts' wanted to be. That said there are a few flaws. The biblical ending doesn't quite work for me. I appreciate the ideas behind it, but it's an ending that's less emotional than the film that proceeded it. And a few moments of irony are forced. That was true in 'Boogie Nights' too, but because that film had a lighter, more self-mocking touch, even the heavy handed moments didn't stick out. None-the-less, this is a must see film, overflowing with great performances, unconventional storytelling, heartbreaking moments, and an honest look at where we are and who we are as a society.
4.0 out of 5 stars
Excellent film but the script????,
By A Customer
This review is from: Magnolia: The Shooting Script (Paperback)
I have to say when I first read the script I was kinda of disappointed because there are changed lines in it like the scene where Frank meets his father for the first time its almost completely changed but I'm not mad its cool reading stuff from what Anderson wrote first But disappointing there are so many great stuff that are in the film but not in the script thats why I'm disappointed. Its a very well done script but changed.See Magnolia first and then read the screenplay. Matt
5.0 out of 5 stars
Operatic,
By picardo "picardo" (nyc) - See all my reviews
This review is from: Magnolia: The Shooting Script (Paperback)
In the bonus features of the Magnolia DVD, Julianne Moore calls the screenplay she's been reading for the last few minutes operatic, with big emotions that require sincerity to work. "Otherwise they wouldn't sound true," Moore says. That earnest praise is on display in PTA's astonishing cinematic masterpiece, but the film works so well not only because the director ensured sincere emotions from his actors, but because scope and power were already there in the script. PTA as a screenwriter , in my personal view, is more attuned with the charisma of cinematic medium than PTA the director. This screenplay, unconventionally, verbalizes the complex mechanics of a shooting script in advance, so here you will find everything on how the camera ought to maneuver, symbolic layers ought to be folded--from most superficial to the most arcane written out in advance--and it's a pity that not all of those details find their realization in the movie. The script is therefore more illuminating in terms of visual storytelling than even the movie by itself. When held next to one another, each one points out to the dissonances between the realm of the imagined and the realm of the possible. Magnificently grandiose, operatic screenplay--I recommend it to every moviegoer.
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