Paul Thomas Anderson Director-Screenwriter-Producer, “Licorice Pizza” For Anderson’s ninth feature, the filmmaker returned to the San Fernando Valley to chronicle the lives of a young man and woman…
Licorice PizzaFor Anderson’s ninth feature, the filmmaker returned to the San Fernando Valley to chronicle the lives of a young man and woman in the 1970s. When asked in a Variety cover story why he chooses this location frequently for his films, Anderson replied: “Comfort. Joy. I like the way it looks. I like the way it tastes and smells. I don’t know beyond I love it. Do I wish I had more range? Yes, I do. I was writing another story.
“‘Tender Bar’ was tricky. We wanted to do a smaller movie because it was during the pandemic. I sent it to Ben [Affleck] and he jumped at it. He sent me a two-page email, describing everything about this character. He knew it. He was so excited and we knew it would be a fun project.” “This is the story of a man who is gradually descending, which is a very interesting theme to me,” says the Iranian filmmaker. “Something that was really exciting for me was getting closer to actual life with this story, examining the true reality of the situation. Even further closer to life than I’ve gotten in my previous work. I’ve worked in realism in my other films, but my goal is to get my films as close to life itself.
“There were missed opportunities in terms of casting, and I don’t feel deaf culture was represented in an authentic way. I became very adamant about the way the movie needed to be told,” says Heder. “That meant half the movie would be in ASL, and hearing characters would not voice what the deaf characters are saying. Lionsgate wanted Marlee Matlin to play the mother, but wanted hearing actors to play her husband and son and hopefully a pop star to play Ruby, the hearing daughter.
“I’m a child of ‘Rent,’” says Levenson. “I am part of that generation, that cohort of people who saw ‘Rent.’ I was 12, and we saw [the play] at the Kennedy Center; it was a touring production. I always loved musicals. There was just something on a cellular level. I absorbed musicals as a kid, and yet they always felt a little bit like something from my parents’ generation. But ‘Rent’ just caught me. And I felt it on this visceral level that I had never felt while watching a musical before.
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