![]() ![]() Being too precious about anything is bad for your health, you know? So being too precious about his words, or being too precious about making it my own – either one of those sounds horrible, and kind of a mistake. Did you feel like, “I better get this right or I’m screwed”? This is the second time you’ve adapted someone’s work, after There Will Be Blood, and it’s the first complete adaptation of Pynchon’s work for the screen. Shit, I’d watch it! But Vineland? It’s just too intimidating. That would be a great one to do, though – maybe Lifetime or A&E could make it. I mean, the story he tells of Mason and Dixon, of that line being cut through the Earth, has never been told in a movie. I think I just said that in an interview. Weren’t you originally thinking about adapting Vineland or Mason & Dixon before tackling Inherent Vice? I read Vineland a couple of months ago, and there were sections where I felt like I was just floating. His writing . . . it just lifts me out of my seat. It’s funny, I’ve been thinking about that a lot lately, because I have such a different relationship with his writing now that I’ve gone through this experience. What was it about his writing that grabbed you? You can see why Pynchon’s wacky, roundabout mystery was a good fit for Anderson, and how it eventually reveals what it’s really about – just like the filmmaker himself. (Just don’t ask about whether he met or talked to the famously reclusive Pynchon you’ll simply get silence.)īy the time Anderson’s done, you’ll realize there’s an answer embedded in those funky detours, the same way that you can pick out a family drama in his porn-industry epic, Boogie Nights an old-fashioned romance in Punch-Drunk Love and character studies about the self-made man in There Will Be Bloodand The Master. Eventually, he’ll smile widely and launch into an anecdote about the time he got his “weiner” caught in a white jumpsuit’s zipper when he was a kid. ![]() He’ll run his hand over his gray-flecked beard. ![]() Ask the 44-year-old director of Inherent Viceabout adapting Thomas Pynchon‘s 2009 stoner-noir novel – in which a hippie-dippy private detective (played by The Master‘s Joaquin Phoenix) tangles with all sorts of Seventies Southern California types – or what he remembers about growing up in the Me Decade, and Anderson will thoughtfully stare out the window of his hotel’s lounge. Paul Thomas Anderson likes to take his time. though he's amiable enough, keeps cracking jokes back through the loudspeaker. Living inside the System is like riding across the country in a bus driven by a maniac bent on suicide. And that time is an artificial resource to begin with, of no value to anyone or anything but the System, which must sooner or later crash to its death, when its addiction to energy has become more than the rest of the World can supply, dragging with it innocent souls all along the chain of life. The System may or may not understand that it's only buying time. Taking and not giving back, demanding that "productivity" and "earnings" keep on increasing with time, the System removing from the rest of the World these vast quantities of energy to keep its own tiny desperate fraction showing a profit: and not only most of humanity-most of the World, animal, vegetable, and mineral, is laid waste in the process. The Serpent that announces, "The World is a closed thing, cyclical, resonant, eternally-returning," is to be delivered into a system whose only aim is to violate the Cycle. But the meanness, the cynicism with which this dream is to be used. “Kekulé dreams the Great Serpent holding its own tail in its mouth, the dreaming Serpent which surrounds the World. ![]()
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