In an age where the Hollywood film industry is filled with big budget blockbuster flops, prequels, sequels, and remakes, the word auteur is rarely used. In the late ’90s, before he had even reached the age of thirty, Paul Thomas Anderson had already written and directed three feature-length films, two of which were considered by critics as masterpieces. A unique style of storytelling and key production traits in his films have reinvigorated American cinema and given hope to an industry that currently falters more than it succeeds.

Anderson’s journey into the film industry is an interesting one. After enrolling into the New York Film School he only lasted two days before withdrawing and heading back to Los Angeles with his tuition money. He felt there was nothing they could teach him that he hadn’t already learned through watching hundreds of films. This arrogant attitude towards authority has followed him throughout his career, especially when dealing with studio heads. Anderson was accepted into the Sundance Filmmakers Lab to work on his debut script Sydney (Later to be called Hard Eight) when he met future producing partner John Lyons, “I thought he was particularly smart and one of the most interesting directors who came through there. He had an unusual amount of confidence, even for a director, especially for someone his age. He was very savvy, utterly self-confident”. Anderson’s maturity was evident in Hard Eight. Writing and directing a story about a washed up gambler in his 60’s showed that Anderson was wise above his age.

Anderson’s directing style was defined in his second feature film Boogie Nights. Long takes and a constantly moving camera for which the director is now known were an element used to enhance the energy of the film, a story about the porn industry in the late ’70s. It’s safe to say these elements were borrowed from two of Anderson’s idols, Robert Altman and Martin Scorsese. The long opening shot into the nightclub bears striking similarities to the nightclub shot Scorsese used in Goodfellas. A multi-protagonist cast was used to tell the story, a trademark Altman used in his heyday in such films as Nashville and Short Cuts.

Several recurring themes that would later find themselves in Anderson’s other films also first appeared in Boogie Nights. Dysfunctional family relationships, alienation, regret, and loneliness were embedded into the screenplay. Having such emotional themes addressed in a film about the porn industry showed Anderson’s skill at being able to get the audience to sympathize with his characters. Never one to let the audience get too comfortable, Anderson also worked the shock value to perfection with several scenes in the film, such as the memorable double murder/suicide performed by William H. Macy’s character and the underage cocaine overdose scene. Both extremely raw but also quite comical. Making a serious actor out of Marky Mark, introducing us to Heather Graham (on wheels) and giving a kick up the ass to Burt Reynolds fledging career all in one film? This director was to be taken seriously.

By the mid to late ’90s every studio in Hollywood was eager to sign the next Quentin Tarantino. The success of Boogie Nights gave Anderson free reign to do whatever he pleased. Mike De Luca, a young head of production at New Line was so keen to keep Anderson on their books that he offered him ‘final cut’ on his next feature, a privilege many directors never come across. What followed was Magnolia, a 3 hour-long magnum opus, a mosaic of interrelated stories about characters searching for happiness, forgiveness, and meaning in their lives. Again Anderson was showing everyday people in moments of crisis and not shying away from intensely emotional moments. Many of the cast members from Boogie Nights returned, including Julian Moore who had this to say about the director during the making of Magnolia, “One of the things that is so wonderful about Paul is his humanity and how emotional he is. There aren’t many people who have the desire or the bravery you need to be that emotional. Paul does that, he really goes there”.

In a surprise casting move, Anderson cast Tom Cruise to play Frank TJ Mackey, a self-help guru specializing in the art of seduction. During a promotional trip to the UK for Boogie Nights, director Stanley Kubrick invited Anderson to the set of Eyes Wide Shut. The night before Kubrick had screened Boogie Nights for Tom Cruise and Nicole Kidman. Cruise told Anderson that he loved working with good directors and hoped to work with him soon. That’s all Anderson needed to hear. The role would eventually win Cruise a Golden Globe for Best Supporting Actor and would be hailed by critics as one of Cruise’s best performances.

Magnolia was also a platform for Anderson to showcase his skill with music. After the success of the Boogie Nights soundtrack Anderson was inspired by Aimee Mann’s music during the writing of Magnolia and used 8 of her songs in the soundtrack, having several of her lyrics incorporated into dialogue and filming a music video sequence of the song ‘Wise Up’ where each character sings sections of the song. He also used an original score, which was epic in size and was used masterfully to build tension in climatic moments of the story. The film would go on to win the top prize at the Berlin Film Festival. In an interview after the film’s release, the confident Anderson was quoted as saying “I have a feeling, one of those gut feelings, that I’ll make pretty good movies the rest of my life… but I guess the way that I really feel is that Magnolia is, for better or worse, the best movie I’ll ever make.”

In an interview with Film Four in 1998, Anderson commented on how the romantic comedy was being killed by bad filmmakers. He stated that for a long time he’s wanted to make a rom-com in the most traditional way but fuck it up in the most untraditional way. The best way to criticize a movie, Jean Luc Godard famously said, is to make another movie. Punch Drunk Love was born.

In my opinion, this is Anderson’s most complex film. It challenges the audience to consider many things happening within the frame. For example, the positioning of Adam Sandler’s Barry Egan in each shot often cornered and trapped, especially at the beginning of the film. The color choices; blue representing protagonists Barry Egan’s life and red representing what Barry wants. And the meaning behind random events such as the car crash in the opening 5 minutes. In what is a masterful directorial move, Anderson sets up one of the most amazing car crash scenes ever filmed, but instead of having Barry’s character investigate what happened with the crash, he simply keeps the camera and story with Barry, making a choice to stay with this character and asking the audience to do the same. Anderson would win the Best Director prize at the 2002 Cannes Film Festival. In a 2003 interview with The Times, Anderson states, “This one came from my stomach. It’s reference-less. When you start out, you latch onto other styles, to help you get across what you’re trying to say. But this one is mine somehow – and I’m proud of that.”

It’s worth mentioning Anderson’s directing skill in being able to get such an amazing performance out of someone like Adam Sandler. Famed critic Roger Ebert said in his review of Punch Drunk Love that “Given a director and screenplay that see’s through Sandler’s persona, it pushes Sandler to reveal depths and tones we may have suspected but couldn’t bring into focus.” While we’re on the subject let’s make one thing clear… If Adam Sandler is ever going to reinvent his career and distance himself from the shit sandwiches he keeps attaching his name to (See Jack and Jill, That’s My Boy, etc…) he needs to either a) Start actually reading the scripts he signs on for, or b) Watch Punch Drunk Love, Funny People and Reign Over Me on repeat for a weekend and realise what a truthful performance of his looks like. And for the love of God please stop doing that stupid annoying voice that makes you sound retarded and was funny maybe once? 

Five years would pass between Punch Drunk Love and Anderson’s next film There Will Be Blood. Based on Upton Sinclair’s 1927 novel Oil!, it tells the story of Daniel Plainview, an oilman on the ruthless quest for wealth in the oil boom of the late 19th and early 20th centuries. Daniel Day-Lewis won every award under the sun for his portrayal of the lead character, including Best Actor at the 2007 Academy Awards.

The film encapsulates everything that is great about Anderson as a director; His ability to so skillfully direct a story (for the first 14 minutes of the film no dialogue is spoken, Anderson relies purely on action to set the story up for the audience). The amazing cinematography, thanks in part to longtime D.O.P collaborator Robert Elswit. The epic score (courtesy of Radiohead’s Jonny Greenwood), again being used as a tool to set the rhythm of the film and to drive home emotional moments and climatic points. The brilliant casting; directing Daniel Day-Lewis to one of the greatest ever screen performances. And finally, something that I haven’t yet touched on and that is his skill as a writer; gifting his actors with such powerful dialogue and knowing exactly how to build tension and when to end those long scenes.

 There was another 5-year wait before the delivery of Anderson’s next and most recent film, The Master. Rumors of financing troubles due to the story’s loosely based Scientology themes, as well as casting issues (Jeremy Renner was originally slated to play Freddie Quell), initially thwarted the film’s production. The story of a World War II veteran (Joaquin Phoenix) struggling to adapt to a post-war society and his eventual meeting with a charismatic preacher (Phillip Seymour Hoffman) premiered at the Venice Film Festival last September. The film took home top honors at the festival including a joint Best Actor Award for Phoenix and Hoffman and a Best Director Award for Anderson. The Master proved a hit with critics upon its release in October and was named Best Picture of 2012 by Sight & Sound, RollingStone, and The Village Voice among others. However, the film faltered at the box office, so far only making back half of its $30 million dollar budget.

For an audience, The Master is probably the least accessible film of Anderson’s due to there being no typical narrative progression or no clear character goals. What The Master does is ask something more from its audience, similar to what Terrance Malick’s The Tree of Life asked in 2011 which was to let yourself escape from the cinema for 2-3 hours and be taken someplace higher than storytelling. While Malick’s Tree of Life was a study on life, faith, and existence, Anderson’s The Master is purely a character-driven study and one that couldn’t exist without the fascinating portrayals of such troubled characters. This really is a master class in acting and directing.

Paul Thomas Anderson is inspiring a younger generation of filmmakers like the Scorsese/Altman generation did for him. An auteur in the truest sense of the word, Anderson is now considered one of the greatest directors alive today. Lucky for us we won’t have to wait another 5 years for his next film, with talks of Inherent Vice set to start shooting in April. The film, adapted from the novel of the same name by author Thomas Pynchon, is about a drug-fueled P.I detective named Larry ‘Doc’ Sportello and a high profile kidnapping case he decides to investigate. Set during the Manson Family paranoia days of 1969 and with Joaquin Phoenix signed onto to play the lead, this is one film all cinephiles will be counting down the days for.